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Speaker 1: Hey, you welcome to stuff to blow your mind. My

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Speaker 1: name is Robert Lamb.

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Speaker 2: And I'm Joe McCormick, and it is Saturday. Time to

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Speaker 2: go into the vault for an episode of Days Past.

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Speaker 2: This one originally aired on July twelfth, twenty twenty two,

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Speaker 2: and it was part one of our series on the Skybridge.

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Speaker 1: Yeah, I remember. We did this series after my family

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Speaker 1: went up to visit Chicago for a week and I

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Speaker 1: got inspired by all the wonderful skybridges up there. And

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Speaker 1: it's timely that we're recording this vault intro now because

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Speaker 1: my family just got back from a trip to Manhattan

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Speaker 1: where we went on another architectural boat tour and got

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Speaker 1: to see a whole bunch more skybridges along the way.

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Speaker 1: And yes, it's pretty magic. I'm still a huge sucker

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Speaker 1: for any skybridge.

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Speaker 2: Which city has better skybridges?

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Speaker 1: Oh, you can't go. You can't compare, You can't compare.

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Speaker 1: But I'm not going to get into a battle between

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Speaker 1: Chicago and New York City over skybridges. Have some real beauties.

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Speaker 1: But if anyone out there has an opinion, feel free

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Speaker 1: to vote. Will we can discuss this on listener Mail.

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Speaker 2: Episodes Tired, the Pizza Fight, Wired, the Skybridge Fight.

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Speaker 3: Yes, welcome to Stuff to Blow Your Mind production of iHeartRadio.

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Speaker 1: Hey you welcome to Stuff to Blow your Mind. This

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Speaker 1: is Robert Lamb and I am Joe McCormick. So I've

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Speaker 1: been kicking around the idea of doing a skybridge episode

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Speaker 1: for a while. These have always captivated me whenever I've

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Speaker 1: looked at city scapes, both real city scapes and cities

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Speaker 1: that I've visited or lived in, but also just imagine cities,

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Speaker 1: fictional cities, futuristic cities that one encounters in various films.

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Speaker 1: These are, of course, we're talking about skybridges or sky

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Speaker 1: walks or you know, there are various terms one might

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Speaker 1: use for these. We're talking generally about enclosed bridges of

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Speaker 1: metal and glass or stone or other materials that connect

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Speaker 1: artificial heights to artificial heights. And I don't know about

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Speaker 1: it about you, Joe, if I don't think we've ever

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Speaker 1: talked about this. See if you share my interest in skybridges,

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Speaker 1: If you ever gaze up at a skybridge in a

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Speaker 1: city and just try and imagine what it would be

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Speaker 1: like to be up there in it looking out.

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Speaker 2: Oh absolutely, I mean there are a number of these

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Speaker 2: around the world, but they're rare enough that they still

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Speaker 2: they stick out when you see them, I guess, unless

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Speaker 2: you're in a city that has a lot of them,

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Speaker 2: like Calgary or something. But yeah, they look like something

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Speaker 2: that's the kind of obvious solution that you would expect

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Speaker 2: to see more of in the city that's full of

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Speaker 2: tall buildings.

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Speaker 1: Yeah, yeah, that we can. We'll certainly get into the

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Speaker 1: practical sides of the skybridge, but there's also something there's

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Speaker 1: something attractive about it that I find almost hard to

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Speaker 1: to put into words because on one level, yes, there's

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Speaker 1: a view that is available to one in a skybridge,

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Speaker 1: and generally speaking, you can often look in two directions

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Speaker 1: at once, and that's that's pretty neat. But by and large,

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Speaker 1: there's not a tremendous amount of difference between being on

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Speaker 1: the tenth floor of a building and looking out at

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Speaker 1: the city as opposed to being on a tenth floor

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Speaker 1: skybridge and looking out of the city. But for some reason,

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Speaker 1: if you gave me the choice between the two, the skybridge,

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Speaker 1: of course, is tremendously more attractive as an opportunity.

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Speaker 2: Well, and in a lot of recent sky bridges they've

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Speaker 2: started doing the thing where they make the bottom out

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Speaker 2: of transparent materials, you know, sometime tough glass, and of

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Speaker 2: course you know, the kids like to jump up and

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Speaker 2: down on it. That's always fun.

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Speaker 1: Yeah, And I think maybe with skybridge is too a

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Speaker 1: lot of a lot of what makes the skybridge attractive

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Speaker 1: and interesting, it's also it's actually wrapped up in a

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Speaker 1: deeper understanding of bridges, Like we're essentially taking our already

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Speaker 1: existing excitement for bridges, even though we see bridges all

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Speaker 1: the time, and maybe that gets kind of like pushed

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Speaker 1: down in our consciousness, but then it becomes new again

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Speaker 1: when we look at something like a skybridge, and also

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Speaker 1: skybridges kind of I think serve to exaggerate the feats

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Speaker 1: of skyscraper building. Like, for instance, if I'm looking at

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Speaker 1: just a normal skyscraper, it may be really impressive, but

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Speaker 1: if I see a little i don't know, like a

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Speaker 1: gargoyle up there or some sort of like little space

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Speaker 1: where a human being could potentially stand for some reason,

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Speaker 1: it draws me in more. Maybe look, there's an artificial

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Speaker 1: mountain aspect to it, and then seeing the bridge up

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Speaker 1: there kind of does much the same thing. Yeah, So

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Speaker 1: in this look at skybridges, we're gonna draw several different sources.

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Speaker 1: One of the main sources that are going to keep

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Speaker 1: coming back to, though, is a wonderful history overview of

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Speaker 1: skybridges titled Skybridge is a History in a View to

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Speaker 1: the Near Future by Anthony Wood and Daniel Sapharik the

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Speaker 1: Council of Tall Buildings in Urban Habitat, published in twenty

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Speaker 1: nineteen in the International Journal of High Rise Buildings. The

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Speaker 1: authors here define a skybridge as quote a primarily enclosed

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Speaker 1: space linking two or more buildings at height, and they

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Speaker 1: make a point of looking at structures that are at

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Speaker 1: least six stories in high to set them apart from

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Speaker 1: other mere pedestrian bridges and overpasses, because I guess truly

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Speaker 1: the skybridge, or at least modern skybridges, have a different

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Speaker 1: feel altogether. Though some of the especially older examples we're

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Speaker 1: going to look at are not necessarily going to be

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Speaker 1: that high in the sky.

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Speaker 2: Yeah, especially a lot of the publicly accessible skybridges or

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Speaker 2: lower whatever you'd call the lower versions of them that

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Speaker 2: aren't like connecting two towers of essentially the same building

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Speaker 2: or buildings that have the same owner. Instead, they're forming

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Speaker 2: a walkway for people or pedestrians along a sort of

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Speaker 2: maybe like second story level in the city. I mentioned

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Speaker 2: the example of Calgary earlier. Calgary and can It has

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Speaker 2: an extensive network of what have sometimes been called skybridges

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Speaker 2: or skyways, but I think they're mostly on more like

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Speaker 2: the second story level, and and they're open to the public.

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Speaker 2: You know, people can walk all around in them.

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Speaker 1: Yeah. When you look at the overall history of skybridges,

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Speaker 1: it's a mix of of passageways for the elite, passageways

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Speaker 1: for everyone and uh and and sometimes you have kind

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Speaker 1: of like double deckers where well one floor is for

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Speaker 1: the residents, but the other floor is for tourists, so

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Speaker 1: that sort of thing. Also you have a mix of

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Speaker 1: some of some of these are still very much in operation,

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Speaker 1: some are not accessible currently. Now I was I was

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Speaker 1: recently in Chicago, and while I was there, this was

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Speaker 1: probably one of the reasons that I decided, Yeah, I

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Speaker 1: think now it's the time to go ahead into the

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Speaker 1: skybridge episode. Because I took one of these architectural tours

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Speaker 1: by boat in the city, which which I highly recommend.

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Speaker 1: It's a it's a city that's it's uh, it's steeped

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Speaker 1: in in architecture, and therefore, or if you understand the

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Speaker 1: architectural history of the city at least just a little bit,

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Speaker 1: you have I think, a much better understanding of what

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Speaker 1: Chicago is when you walk around it, drive around it,

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Speaker 1: et cetera. And one building in particular that you can't

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Speaker 1: help but notice is, of course, the Wriggly Building. And

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Speaker 1: indeed you have this beautiful fourteenth story skybridge connecting the

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Speaker 1: two sections, and at first glance you might think it's

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Speaker 1: made out of aluminum, but it's actually made out of

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Speaker 1: Allegheny nickel. So that's pretty interesting. But yeah, if you

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Speaker 1: look up pictures of the Wrigley Building, yeah you'll definitely

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Speaker 1: see this impressive skybridge.

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Speaker 2: It's trying to remember if this shows up in The Fugitive,

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Speaker 2: which is a movie that I deeply associate with Chicago architecture,

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Speaker 2: though I'm not quite sure why. I mean, obviously it's

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Speaker 2: in Chicago, I don't know what the architecture connection is.

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Speaker 1: I remember as a kid, I would look at pictures

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Speaker 1: of skybridges and think also, watching a lot of action

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Speaker 1: films back in the day, I kept thinking that there

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Speaker 1: had to be like a great action sequence where the

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Speaker 1: hero has to run through a skybridge, and maybe a

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Speaker 1: helicopter is firing at him in the skybridge, or maybe

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Speaker 1: there's a fight on top of the skybridge, and maybe

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Speaker 1: my memories faint on this. Maybe these things actually happened

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Speaker 1: in some movie or TV show. But if they didn't,

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Speaker 1: I'm surprised it never happened. It seems like the most

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Speaker 1: logical place, like a weird place, for some sort of

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Speaker 1: a fight to take place. Like why didn't we see

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Speaker 1: this in Highlander?

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Speaker 4: Right?

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Speaker 2: The answer is insurance problems. That was a scene they

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Speaker 2: wanted to shoot but they couldn't.

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Speaker 1: Probably, now, if anyone, if you're a New Yorker, or

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Speaker 1: certainly if you've even visited New York, you've seen multiple

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Speaker 1: examples of this. There are some great examples of both

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Speaker 1: old school and modern skybridges. You can look up lists

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Speaker 1: of these. I think there's at least one really picturesque

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Speaker 1: one that's the viewable from the high Line there. But then,

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Speaker 1: of course we don't have to go to New York

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Speaker 1: in order to experience a sky bridge, because Joe, we

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Speaker 1: live in Atlanta and we have a pretty noteworthy example

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Speaker 1: of skybridges or skyways as well, and that's Peachtree Center,

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Speaker 1: designed by Atlanta architect John C. Portman Junior. Portman lived

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Speaker 1: nineteen twenty four through twenty seventeen, and he's famed for

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Speaker 1: popularizing the atrium as well as just leaving a profound

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Speaker 1: mark on downtown Atlanta. And one of the things that

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Speaker 1: he also did is, especially again with Peachtree Center here

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Speaker 1: is we see this almost excessive use of skybridges and

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Speaker 1: skyways connecting these buildings to each other.

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Speaker 2: Yeah, if you drive around the city center streets, you

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Speaker 2: will see a number of these.

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Speaker 1: Yeah, they have a very seventies modern look to them,

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Speaker 1: so they're not the classical skybridges. They're not these super

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Speaker 1: modern looking ones you'll see in many of the examples today.

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Speaker 1: But this, this is an example we're going to come

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Speaker 1: back to later because it's actually with Portman's work that

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Speaker 1: we see some of the more pronounced social criticisms of

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Speaker 1: the basic concept of the skybridge, which are interesting to

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Speaker 1: get into. Now, another local example here in Atlanta, the

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Speaker 1: High Museum of Art has some great skybridges part of

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Speaker 1: the Rinzo Piano designed addition to the Core Museum in

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Speaker 1: two thousand and five. Joe, I know you've walked.

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Speaker 2: Through these oh yeah, yeah, yeah.

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Speaker 1: So there you always get some some brilliant sunlight. There's

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Speaker 1: all that beautiful white architecture going on.

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Speaker 2: I think I associate them with the sudden feeling of

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Speaker 2: being irradiated.

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Speaker 1: Because you've been in the climate because the climate control galleries,

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Speaker 1: and then suddenly, yeah, here's the sun now. Would in

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Speaker 1: Sopharik point out that the most common function of the

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Speaker 1: skybridge is of course, to convey traffic from one building

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Speaker 1: to another without forcing individuals to descend down to the

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Speaker 1: ground level or even below ground level, potentially exiting and

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Speaker 1: re entering the building, which, of course, if you're dealing

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Speaker 1: with special with a building that has some sort of

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Speaker 1: a security system in place and security check ins and checkpoints,

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Speaker 1: we can see where that would that could become problematic.

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Speaker 1: Easier to have people enjoy access to both buildings via

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Speaker 1: the bridge, and you also have situations where okay, maybe

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Speaker 1: we don't want people having to cross the street, deal

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Speaker 1: with traffic or adverse environmental conditions.

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Speaker 2: Yeah, I was trying to think what would be the

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Speaker 2: main factors motivating somebody to connect buildings via skybridge versus

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Speaker 2: just having people you enter an exit at the surface

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Speaker 2: level like they normally would. And yeah, those are some

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Speaker 2: of the main things that came to mind for me.

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Speaker 2: Bad weather and climate, that's got to be a motivator,

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Speaker 2: which is also true of places that have more underground

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Speaker 2: tunnels connecting buildings together. But then yeah, also bad traffic

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Speaker 2: and like thoroughfares that are hard to cross. So for example,

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Speaker 2: this would also include places where the where the streets

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Speaker 2: are not always streets, where there's not ground on the streets,

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Speaker 2: such as cities with canals sometimes skybridges to cross those.

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Speaker 2: And then of course security concerns like if you have

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Speaker 2: i don't know, high security government buildings or something imagined,

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Speaker 2: they try to limit the necessity to go outside and

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Speaker 2: enter a different door and do that whole thing all

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Speaker 2: over again.

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Speaker 1: Yeah, so obviously there are some basic reasons why you

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Speaker 1: might have a skybridge connecting to buildings. However, the authors

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Speaker 1: here also classify some skybridges as quote enclosed programmatic skybridges,

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Speaker 1: meaning that there's something about them, something inside them to

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Speaker 1: draw people to them beyond just mere conveyance. For example,

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Speaker 1: the one example they give is the American Copper Buildings

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Speaker 1: in New York City, built in twenty sixteen, which feature

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Speaker 1: a robust, two story skybridge full of common rooms and

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Speaker 1: swimming pools for residents.

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Speaker 2: It's a great place to go swimming.

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Speaker 1: Yeah, it's an interesting choice. I mean, it looks like

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Speaker 1: it has a tremendous view.

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Speaker 2: Though, I would imagine, yeah, view and just sort of

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Speaker 2: novelty has got to be one of the main points

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Speaker 2: for these enclosed programmatic skybridges, because again, they're not so

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Speaker 2: common connecting American buildings in American cities that you're just

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Speaker 2: numb to them. Now, like going into skybridge is kind

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Speaker 2: of interesting and unique, unless you know, you just happen

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Speaker 2: to be one of the few people who lives or

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Speaker 2: works in buildings where you cross one every day.

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Speaker 1: Yeah. Now, they also bring up a few additional expansions

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Speaker 1: on the form. One is something they called the sky plane,

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Speaker 1: and this is essentially a shared horizontal roof structure for

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Speaker 1: two or more buildings. And the example they bring up

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Speaker 1: is Marina Bay Sands in Singapore. Joe, you should probably

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Speaker 1: just look up a picture of Marina Bay Sands and

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Speaker 1: just take this in because I would have to say,

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Speaker 1: I mean, I'm no judge of architecture here, but it

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Speaker 1: looks almost a little bit ridiculous. It looks like there

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Speaker 1: is a ship perched atop three identical skyscrapers.

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Speaker 2: Yes, it's a cruise ship. There is a cruise ship

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Speaker 2: on the buildings.

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Speaker 1: Yeah, which I mean. I guess it looks really cool

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Speaker 1: up there. It makes me a little bit queasy to

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Speaker 1: look at some of these aerial shots of it for

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Speaker 1: some reason. But yeah, it looks it looks very nice,

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Speaker 1: and I guess, and certainly we can imagine so that

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Speaker 1: we may come back to this one as we think

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Speaker 1: about some arguments to be made for similar structures. They

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Speaker 1: also bring up the idea of building as skybridge. So

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Speaker 1: this is when the horizontal bar of the skybridge is

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Speaker 1: so massive in comparison to the rest that it is

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Speaker 1: more of a defining part of the building itself rather

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Speaker 1: than something that bridges it. And this also is a

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Speaker 1: statement one could make about like the nature of the skybridge.

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Speaker 1: One of the examples will come to in a minute.

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Speaker 1: Either the skybridge is not really firmly set in place.

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Speaker 1: It's kind of setting in there, kind of slotted into place,

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Speaker 1: whereas building a skybridge, it's like it's all one structure. Sure.

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Speaker 1: The example they bring up is the CCTV headquarters in Beijing.

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Speaker 1: This is a building I believe it was built in

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Speaker 1: twenty eleven, and it looks basically like a really boxy

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Speaker 1: upside down you very cool design.

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Speaker 2: Yeah, i'd characterize it as it looks like it was

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Speaker 2: built out of the out of giant versions of the

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Speaker 2: L shaped Tetris blocks and they're connecting above the ground way,

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Speaker 2: you know, many many stories up. But yeah, it's clear

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Speaker 2: that this is not just a little hallway connecting the

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Speaker 2: upper levels of a skyscraper. A substantial portion of the

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Speaker 2: occupied part of the building is hanging over air.

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Speaker 1: Yeah. Yeah, And it also looks like it could walk

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Speaker 1: like two legs and a pelvis, but like they walked

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Speaker 1: out of the Tron universe or something.

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Speaker 2: If you offend the master control program, this building comes

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Speaker 2: walking at you.

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Speaker 1: It probably does.

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Speaker 2: Yeah.

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Speaker 1: Now you might be wondering, well, what's the highest skybridge

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Speaker 1: in the world. Well, I believe if the Guinness Book

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Speaker 1: of World Records is correct on this, it is the

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Speaker 1: Patronas Towers in Kuala Lumpur in Malaysia. This is a

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Speaker 1: quote a double deck bridge at the forty first and

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Speaker 1: forty second floors. It's one hundred and seventy meters or

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Speaker 1: five hundred and fifty eight feet above the ground and

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Speaker 1: measures fifty eight meters or one hundred and ninety feet

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Speaker 1: in length, weighs seven hundred and fifty metric tons, and

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Speaker 1: this building opened in nineteen ninety four. This one is

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Speaker 1: really cool looking.

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Speaker 2: This is one of the ones I was talking about

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Speaker 2: earlier where it's essentially it's a connector between two towers

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Speaker 2: that are the same building. Like it's all one complex,

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Speaker 2: but the complex consists of like a you know, a

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Speaker 2: lower level thing, and then two towers going straight up

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Speaker 2: and they're connected in the at the middle of their

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Speaker 2: height by this skybridge.

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Speaker 1: Yeah, this one's an interesting one to look at too,

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Speaker 1: because first of all, it's so high up and at

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Speaker 1: the fortieth floor, you can imagine a good case being made,

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Speaker 1: like what if you need to get to the next tower,

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Speaker 1: you don't want to go down forty floors and then

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Speaker 1: up another forty floors, what if you could just walk

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Speaker 1: over And of course you can adjust the math based

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Speaker 1: on what floor you're trying to get to in each tower.

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Speaker 2: And I think it's an area of the complex that

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Speaker 2: has increased foot traffic because there's sort of a sky

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Speaker 2: lobby concept, like you go halfway up the towers and

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Speaker 2: there's it's not just more regular office occupancy. There are

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Speaker 2: I don't know, lobbies and things for people to hang

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Speaker 2: out and walk around and do at that level.

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Speaker 1: Yeah, and apparently one whole floor of it is is

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Speaker 1: open to tourists and as you know, part of this

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Speaker 1: lobby concept. The other is apparently closed off and more

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Speaker 1: for residents or businesses, what have you. But it's neat

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Speaker 1: that on top of this, not only is it mirror conveyance,

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Speaker 1: but also it adds at least a little bit of

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Speaker 1: structural support as well as a possible means of a

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Speaker 1: evacuating individuals from one tower into the other during an emergency.

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Speaker 1: Maybe not a primary function, but one that they've apparently

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Speaker 1: looked into, Like what if there was an emergency in

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Speaker 1: one tower but the other tower was still viable, That's

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Speaker 1: one way you could help get people out. It's also

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Speaker 1: interesting that this bridge is not directly connected to the buildings.

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Speaker 1: It's designed so that it can shift or slide in

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Speaker 1: and out of them to counterbalance building sway from the winds.

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Speaker 1: So that's I mean, this is something that I always

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Speaker 1: forget about skyscrapers and then I'm told about skyscrapers, and

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Speaker 1: it kind of wigs me out a little bit, the

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Speaker 1: idea that, yes, they're not just purely stationary. They have

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Speaker 1: a little give to them. There's a little bit of

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Speaker 1: sway involved, and certainly if you have a bridge connecting

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Speaker 1: to skyscrapers, you have to take that into account, all right.

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Speaker 1: So at this point I thought we might get into

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Speaker 1: some of the history of the skybridge. I mean, one

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Speaker 1: of the things about our look at skybridges here is

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Speaker 1: we're not going to be able to look at every

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Speaker 1: step in the We're not going to take you skybridge

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Speaker 1: by skybridge through human history. But we thought it might

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Speaker 1: be a good idea to hit on some key examples,

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Speaker 1: some of which are more historical in nature, and before

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Speaker 1: we get into some of the psychological aspects, before we

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Speaker 1: get into some of the futurist ideas that are tied

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Speaker 1: up with skybridges. And so a great place to start

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Speaker 1: is to travel to Italy.

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Speaker 2: Surely, I think maybe we should start by taking a

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Speaker 2: look at the Bridge of Size, or the Ponte de

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Speaker 2: Sospiri in Italian. You know, Suspiri, like Suspiria, like the

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Speaker 2: movie Size, the Size, This is.

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Speaker 1: A beautiful one. And this is one where if if

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Speaker 1: you look it up, you'll instantly recognize that you'll instantly

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Speaker 1: find yourself longing to be in a gondola with with

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Speaker 1: your beloved or some imagine beloved, perhaps with the glass

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Speaker 1: of wine in hand.

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Speaker 2: Very ironically romantic. I'll get to that. So the bridge

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Speaker 2: of size is a really interesting landmark in Venice, a

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Speaker 2: city that already is already unusual in many of its

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Speaker 2: thoroughfares because many of them are not streets but canals

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Speaker 2: navigated by boat. And one of these canals, known as

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Speaker 2: the Rio di Palazzo, is crossed over by a totally

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Speaker 2: enclosed limestone bridge connecting two buildings on either side. At

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Speaker 2: the level of what looks like about the second story.

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Speaker 2: It is covered with elaborate Baroque decorations, having been commissioned

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Speaker 2: by the Doge Marino Grimani. And no doge is a

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Speaker 2: word that had a meaning before before internet memes. It

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Speaker 2: has nothing to do with dogs. It was an office

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Speaker 2: in medieval and Renaissance Italy. It was like it was

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Speaker 2: kind of like being like a lord or some other

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Speaker 2: kind of executive. So it was this doge, Marino Grimani,

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Speaker 2: who commissioned it. I think it came up in the

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Speaker 2: early seventeenth century. Apparently it is tradition for couples to

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Speaker 2: kiss as they pass underneath the bridge in a boat

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Speaker 2: or I don't know if it's tradition, it's at least

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Speaker 2: something a lot of people do, I think, especially tourists,

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Speaker 2: and tourists are often taking pictures of themselves kissing with

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Speaker 2: this bridge in the background. You can probably find plenty

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Speaker 2: of those on the internet if you want. So, what

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Speaker 2: is the purpose of this hallway in the sky over

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Speaker 2: the canal that's causing people to spontaneously break out in kissing?

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Speaker 2: You might wonder wha you know, was it connecting two

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Speaker 2: wings of a library or an art museum, maybe so

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Speaker 2: people could move priceless antiques and books and artworks back

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Speaker 2: and forth in the rain without getting wet or something

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Speaker 2: like that. No, not at all. It was a bridge

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Speaker 2: connecting the Doge's palace and the inquisitors facilities within to

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Speaker 2: the prison on the other side of the canal. And

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Speaker 2: so it's called the bridge of size because of the

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Speaker 2: size of the doomed prisoners who walked within. Apparently conditions

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Speaker 2: in the prison were pretty nasty, so I've at least

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Speaker 2: read the allegation that being confined there frequently resulted in death.

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Speaker 1: So you know, you.

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Speaker 2: Would sigh knowing your fate was sealed as you were

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Speaker 2: taken across the bridge of size into the jail.

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Speaker 1: Well, that's not romantic at all.

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Speaker 2: That's horrible, and it makes me wonder. Okay, then why

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Speaker 2: in particular was this enclosed and not just an open

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Speaker 2: bridget I don't know this, but I wonder if the

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Speaker 2: reasoning had something to do with like preventing prisoners from

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Speaker 2: trying to escape by jumping over the edge into the

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Speaker 2: canal and getting way.

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Speaker 1: Yeah, yeah, I mean also, I guess, given the nature

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Speaker 1: of the work going on them, maybe you don't want

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Speaker 1: them seen by anybody going by in a boat, that

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Speaker 1: sort of thing. I also have to say, now that

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Speaker 1: you reveal it's true nature, I kind of see a

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Speaker 1: skull in this design. I don't know if that's I mean, granted,

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Speaker 1: we tend to lean into anthropomorphic details of things anyway,

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Speaker 1: but now that I know it's secrets, yeah, I kind

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Speaker 1: of see these teeth and two eye sockets and a

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Speaker 1: nose socket there.

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Speaker 2: Well, I can't find a close up shot to look

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Speaker 2: at right now though I do think the bridge bears

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Speaker 2: a certain family's coat of arms, it might have been

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Speaker 2: the family of the Doge or someone else. Possibly that

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Speaker 2: coat of arms looks like a skull.

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Speaker 1: I don't know, all right. Now, another interesting example from

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Speaker 1: Italy takes this to Florence, and this is a sixteenth

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Speaker 1: century example. This is Vasari Corridor. This was built in

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Speaker 1: fifteen sixty five to allow members of the powerful Medici

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Speaker 1: family to move freely between their residence and the governmental

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Speaker 1: center there in Florence. So it's certainly an elevated, enclosed

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Speaker 1: passageway reaching the full length I believe it's an entire

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Speaker 1: kilometer in length. There's at least one section of it

434
00:23:46,640 --> 00:23:50,560
Speaker 1: that is instantly identifiable as a skybridge, like there's a

435
00:23:50,600 --> 00:23:52,840
Speaker 1: street below it, that sort of thing. But in other

436
00:23:52,880 --> 00:23:58,480
Speaker 1: cases there are buildings or businesses beneath Vasari Corridor. It

437
00:23:58,600 --> 00:24:01,840
Speaker 1: literally just cuts through the city, built over like in

438
00:24:01,840 --> 00:24:05,119
Speaker 1: one case, it's apparently built over what was some riverside

439
00:24:05,119 --> 00:24:07,480
Speaker 1: butcher shops, because you know, you want to dump all

440
00:24:07,480 --> 00:24:10,200
Speaker 1: of that the leftovers, directly into the river. But that

441
00:24:10,359 --> 00:24:15,600
Speaker 1: smelled too bad, and so with a little Medici finagling,

442
00:24:16,000 --> 00:24:19,120
Speaker 1: they got some jewelers in there as well. There's also

443
00:24:19,240 --> 00:24:21,920
Speaker 1: a tower that it goes around because there was one

444
00:24:22,000 --> 00:24:24,959
Speaker 1: stubborn Florentine who would not sell and so they had

445
00:24:25,000 --> 00:24:29,480
Speaker 1: to to make the their corridor go around this particular tower.

446
00:24:29,960 --> 00:24:32,760
Speaker 1: And there's even a place where it basically it basically

447
00:24:32,760 --> 00:24:36,320
Speaker 1: cuts through the Church of Santa Felicita, opening up onto

448
00:24:36,359 --> 00:24:39,440
Speaker 1: the balcony into a balcony there so that the Medici

449
00:24:39,520 --> 00:24:42,720
Speaker 1: could take their corridor attend Mass, and I guess keep

450
00:24:42,720 --> 00:24:46,320
Speaker 1: on going all the way, enjoying a kind of privileged

451
00:24:46,400 --> 00:24:49,200
Speaker 1: view of the city in places. You know, they get

452
00:24:49,200 --> 00:24:52,600
Speaker 1: to walk from point A to point B in Florence

453
00:24:52,600 --> 00:24:56,560
Speaker 1: without having to worry about their enemies trying to murder them.

454
00:24:57,920 --> 00:25:04,440
Speaker 1: And over time, portions of the Quarriter have been been altered, destroyed, rebuilt,

455
00:25:04,920 --> 00:25:07,280
Speaker 1: and I believe it was closed for a while and

456
00:25:07,440 --> 00:25:10,280
Speaker 1: is once more open to tourists visiting the city.

457
00:25:10,560 --> 00:25:12,359
Speaker 2: You know, what I've always wanted is the ability to

458
00:25:12,359 --> 00:25:15,520
Speaker 2: wake up, go to Mass without ever stepping foot outside.

459
00:25:15,920 --> 00:25:20,560
Speaker 1: Yeah, I mean, it's such a power flex right, Yeah,

460
00:25:20,080 --> 00:25:22,199
Speaker 1: And it's definitely one to keep in mind when we

461
00:25:22,240 --> 00:25:26,119
Speaker 1: talk about other examples and modern examples of skybridges and

462
00:25:26,160 --> 00:25:28,560
Speaker 1: similar structures. It would be kind of like if you

463
00:25:28,560 --> 00:25:31,000
Speaker 1: didn't want to leave your bedroom to go to work,

464
00:25:31,480 --> 00:25:36,360
Speaker 1: and you didn't have tell a working technology, you could say,

465
00:25:36,359 --> 00:25:39,080
Speaker 1: what if I were just to physically extend my bedroom

466
00:25:39,400 --> 00:25:43,520
Speaker 1: across town to the office. How about that? And I

467
00:25:43,520 --> 00:25:45,880
Speaker 1: mean that's essentially what the Medici did here.

468
00:25:46,640 --> 00:25:49,199
Speaker 2: Though to some degree, I think what we're thinking of

469
00:25:49,240 --> 00:25:54,280
Speaker 2: as a skybridge really has more to do with just

470
00:25:54,440 --> 00:25:58,040
Speaker 2: external appearance and like what is the stuff underneath it

471
00:25:58,119 --> 00:26:01,080
Speaker 2: and how high is it and things like that, more

472
00:26:01,160 --> 00:26:03,800
Speaker 2: so than function, because there are other things that don't

473
00:26:03,880 --> 00:26:07,000
Speaker 2: quite look exactly like a skybridge, but they clearly serve

474
00:26:07,080 --> 00:26:10,960
Speaker 2: the same function. I know, there's like a long elevated

475
00:26:11,000 --> 00:26:17,159
Speaker 2: passageway in Rome connecting Vatican City to some chapel or

476
00:26:17,200 --> 00:26:19,520
Speaker 2: palace or something there, and you can see it in

477
00:26:19,560 --> 00:26:21,119
Speaker 2: pictures of the city, though I think a lot of

478
00:26:21,119 --> 00:26:25,679
Speaker 2: it is uncovered, so it doesn't read exactly like like

479
00:26:25,720 --> 00:26:28,240
Speaker 2: a tunnel in the sky that's fully enclosed all around.

480
00:26:28,320 --> 00:26:31,000
Speaker 2: It's more like there's just sort of this elevated bridge

481
00:26:31,000 --> 00:26:33,760
Speaker 2: going over the rooftops or over parts of the city.

482
00:26:34,040 --> 00:26:37,399
Speaker 1: Yeah. Yeah, to what extent do these examples feel like

483
00:26:37,480 --> 00:26:41,199
Speaker 1: a bridge. Do they have this feeling of being above

484
00:26:41,320 --> 00:26:46,440
Speaker 1: things or having some sort of privileged passage through things.

485
00:26:47,400 --> 00:26:50,119
Speaker 1: For instance, we mentioned cold cities or cities that have

486
00:26:50,160 --> 00:26:54,280
Speaker 1: cold winters. The Chicago Pedway is a strong example of

487
00:26:54,320 --> 00:26:57,399
Speaker 1: a system like this. Parts of it are elevated, but

488
00:26:57,480 --> 00:27:00,480
Speaker 1: then also parts of it are completely underground, so that

489
00:27:00,560 --> 00:27:01,760
Speaker 1: you know you don't have to go out into the

490
00:27:01,800 --> 00:27:04,000
Speaker 1: elements during the winter to move from one place to

491
00:27:04,040 --> 00:27:08,080
Speaker 1: another Downtown necessarily, on my visit to Chicago, I wanted

492
00:27:08,080 --> 00:27:11,080
Speaker 1: to go down and see it. Though it was it

493
00:27:11,119 --> 00:27:13,080
Speaker 1: was very pleasant outside, so we didn't have to go

494
00:27:13,160 --> 00:27:16,600
Speaker 1: down there. But I was reading some accounts of people who,

495
00:27:16,720 --> 00:27:19,119
Speaker 1: of course really like it, some who think that parts

496
00:27:19,119 --> 00:27:21,760
Speaker 1: of it need some work. I think some people think

497
00:27:21,760 --> 00:27:25,280
Speaker 1: it is a bit dank and perhaps needs a facelift

498
00:27:25,280 --> 00:27:25,840
Speaker 1: of some sort.

499
00:27:26,119 --> 00:27:28,479
Speaker 2: Well, that opens up a theme that I'm definitely going

500
00:27:28,520 --> 00:27:30,480
Speaker 2: to get to it at some point, maybe later in

501
00:27:30,480 --> 00:27:32,480
Speaker 2: this episode or maybe in the next one, but that

502
00:27:33,359 --> 00:27:36,480
Speaker 2: when it comes to designing urban spaces, in many ways,

503
00:27:36,520 --> 00:27:39,439
Speaker 2: I think form can be about as important as function,

504
00:27:39,600 --> 00:27:42,399
Speaker 2: Like it doesn't just matter. Are these spaces traversible and

505
00:27:42,440 --> 00:27:44,760
Speaker 2: do they get you where you're going? But like, there

506
00:27:44,800 --> 00:27:48,640
Speaker 2: are pretty profound effects on our psychological well being depending

507
00:27:48,640 --> 00:27:52,480
Speaker 2: on the various esthetic qualities of these thoroughfares and tunnels

508
00:27:52,520 --> 00:27:55,320
Speaker 2: and traversal spaces, and it makes a difference in our

509
00:27:55,359 --> 00:27:59,399
Speaker 2: lives what these spaces are like. Absolutely, if you're spending

510
00:27:59,440 --> 00:28:02,640
Speaker 2: your life walking around and like just dank concrete with

511
00:28:02,680 --> 00:28:05,560
Speaker 2: no you know, no plants and no natural light and stuff,

512
00:28:05,560 --> 00:28:07,080
Speaker 2: that does affect people.

513
00:28:07,440 --> 00:28:11,399
Speaker 1: Or it's also like having super reinforced transparent flooring in

514
00:28:11,440 --> 00:28:15,919
Speaker 1: your skybridge. I mean, that's fine for tourist scenarios, but

515
00:28:16,440 --> 00:28:20,320
Speaker 1: if you're using this skybridge just as a daily way

516
00:28:20,359 --> 00:28:24,600
Speaker 1: of connecting, say from from your office to the coffee

517
00:28:24,640 --> 00:28:28,280
Speaker 1: machine in the other building, you don't necessarily want it

518
00:28:28,320 --> 00:28:31,280
Speaker 1: to be a harrowing journey through the sky or at

519
00:28:31,359 --> 00:28:33,320
Speaker 1: least not to get the coffee maybe on the way back.

520
00:28:33,359 --> 00:28:43,040
Speaker 1: That would be impowerful. Now, if you look around at

521
00:28:43,080 --> 00:28:46,080
Speaker 1: various articles about skybridges, particularly like even if you go

522
00:28:46,080 --> 00:28:49,320
Speaker 1: to the wiki page for skybridges, you'll see some images

523
00:28:49,360 --> 00:28:52,800
Speaker 1: of some examples, and there's a picture that is circulated

524
00:28:52,840 --> 00:28:56,080
Speaker 1: a lot. This is a model that was found in

525
00:28:56,120 --> 00:28:59,000
Speaker 1: an Eastern Hong tomb in a non province in China,

526
00:28:59,640 --> 00:29:02,600
Speaker 1: and this is quite It's quite interesting to look at

527
00:29:02,640 --> 00:29:08,040
Speaker 1: It is clearly a multi story building connected by an

528
00:29:08,160 --> 00:29:14,640
Speaker 1: enclosed skybridge to another shorter tower or multi story building,

529
00:29:14,920 --> 00:29:16,520
Speaker 1: and it's pretty cool to look at it. Again, this

530
00:29:16,640 --> 00:29:21,240
Speaker 1: is quite old. I wasn't able to find anything to

531
00:29:21,280 --> 00:29:24,200
Speaker 1: indicate that this is a model of something that was

532
00:29:24,200 --> 00:29:28,840
Speaker 1: ever built in reality. Perhaps it was, or perhaps this

533
00:29:28,960 --> 00:29:31,840
Speaker 1: was just a model that again went into a tomb.

534
00:29:32,640 --> 00:29:35,480
Speaker 1: But I was able to look around, and I found

535
00:29:35,520 --> 00:29:41,200
Speaker 1: some interesting things about skybridges and things like skybridges that

536
00:29:41,240 --> 00:29:47,840
Speaker 1: were that were actually constructed in various Chinese palace complexes

537
00:29:47,880 --> 00:29:52,880
Speaker 1: and gardens. So I was looking at the philosophical encounter

538
00:29:53,040 --> 00:29:59,040
Speaker 1: embodied by Du Wangming by Wan hoy Zo published in

539
00:29:59,320 --> 00:30:02,320
Speaker 1: Environmental Phlosophy, Volume seven, number one. This came out in

540
00:30:02,360 --> 00:30:06,920
Speaker 1: spring of twenty ten. So the One Being Gone or

541
00:30:06,960 --> 00:30:11,240
Speaker 1: the Summer Old Summer Palace in Beijing was a complex

542
00:30:11,360 --> 00:30:15,280
Speaker 1: of elaborate gardens and palaces of the Qing dynasty built

543
00:30:15,280 --> 00:30:18,840
Speaker 1: in the eighteenth and early nineteenth centuries. In eighteen sixty,

544
00:30:18,920 --> 00:30:21,440
Speaker 1: during the Opium War, it was looted and destroyed by

545
00:30:21,480 --> 00:30:24,600
Speaker 1: British and French forces. But according to Zoe here. The

546
00:30:24,640 --> 00:30:28,720
Speaker 1: original gardens consisted of three Chinese gardens and a Western

547
00:30:28,720 --> 00:30:32,000
Speaker 1: style garden that had been designed by Jesuits. The Chinese

548
00:30:32,000 --> 00:30:36,440
Speaker 1: gardens were laid out with Daoist cosmology and fin Shue

549
00:30:36,640 --> 00:30:40,680
Speaker 1: in mind, so that one stroll through these gardens was

550
00:30:40,680 --> 00:30:44,600
Speaker 1: said to be one of contemplated depths. You know, it

551
00:30:44,640 --> 00:30:46,959
Speaker 1: wasn't just you were just putting everything out of your

552
00:30:47,000 --> 00:30:50,120
Speaker 1: mind as you strolled here. You got to contemplate the Tao.

553
00:30:50,560 --> 00:30:53,120
Speaker 2: Oh do images of these gardens remain, I would be

554
00:30:53,200 --> 00:30:55,880
Speaker 2: really interested to see the difference between that and the

555
00:30:55,960 --> 00:30:56,760
Speaker 2: Jesuit garden.

556
00:30:57,200 --> 00:31:00,120
Speaker 1: You can there are schematics of what it looked like,

557
00:31:00,160 --> 00:31:03,080
Speaker 1: and the ruins still exist. I believe. I was looking

558
00:31:03,120 --> 00:31:05,560
Speaker 1: at some photographs of this, and it's still a site

559
00:31:05,560 --> 00:31:07,680
Speaker 1: that I believe can be visited.

560
00:31:07,440 --> 00:31:10,720
Speaker 2: But probably not with all the vegetation in the original place.

561
00:31:10,480 --> 00:31:12,280
Speaker 1: I don't think. So I didn't find and there may

562
00:31:12,320 --> 00:31:14,720
Speaker 1: be some really robust recreations of what these would have

563
00:31:14,720 --> 00:31:16,320
Speaker 1: looked like, but I was I didn't. They didn't come

564
00:31:16,360 --> 00:31:19,680
Speaker 1: up in my research. But if anyone out there has

565
00:31:19,800 --> 00:31:22,560
Speaker 1: seen such an image, I would love to look at it. So,

566
00:31:22,720 --> 00:31:26,120
Speaker 1: in talking about this particular park, Zoe turns to some

567
00:31:26,200 --> 00:31:30,760
Speaker 1: other examples. Zoe shares that the sheng Lin Park of

568
00:31:30,880 --> 00:31:34,360
Speaker 1: the emperor Chinshi Wong of the third century BC Chin

569
00:31:34,520 --> 00:31:40,640
Speaker 1: dynasty featured was said to feature covered double floor passageways

570
00:31:41,040 --> 00:31:43,920
Speaker 1: that allowed the emperor to move from one grand palace

571
00:31:44,000 --> 00:31:47,840
Speaker 1: to another quote through the wilderness, and in doing so,

572
00:31:48,040 --> 00:31:54,600
Speaker 1: quote act mysteriously to avoid devils and meanwhile embrace virtuous individuals.

573
00:31:54,880 --> 00:32:01,080
Speaker 2: WHOA. Wait, so the skyways here were alleged to be

574
00:32:01,240 --> 00:32:05,560
Speaker 2: so this emperor could keep his movement secret sort of?

575
00:32:05,640 --> 00:32:06,800
Speaker 2: Is that? Am I understanding that?

576
00:32:06,920 --> 00:32:07,000
Speaker 4: Right?

577
00:32:07,120 --> 00:32:09,800
Speaker 1: Yeah? If? Well? So, first of all, these wouldn't have

578
00:32:09,840 --> 00:32:13,040
Speaker 1: been skyways per se. I think these were maybe situated

579
00:32:13,080 --> 00:32:17,160
Speaker 1: on the ground, but yes, they would have been enclosed

580
00:32:17,320 --> 00:32:20,520
Speaker 1: so that nobody could necessarily see him moving around. He

581
00:32:20,600 --> 00:32:23,120
Speaker 1: is an important guy after all. But also he could

582
00:32:23,160 --> 00:32:27,600
Speaker 1: avoid devils and embrace virtuous individuals, which, you know, we

583
00:32:27,640 --> 00:32:30,400
Speaker 1: can certainly lean into the supernatural interpretation of that. But

584
00:32:30,480 --> 00:32:33,240
Speaker 1: also it sounds like not run into people who I

585
00:32:33,320 --> 00:32:36,520
Speaker 1: don't want to greet, don't run into people who wish

586
00:32:36,560 --> 00:32:40,080
Speaker 1: me harm, and also you know, only encounter people who

587
00:32:40,120 --> 00:32:44,800
Speaker 1: are worthwhile for me. The emperor to run into But

588
00:32:45,160 --> 00:32:47,760
Speaker 1: then Zoe turns to an example that I think we

589
00:32:47,840 --> 00:32:51,440
Speaker 1: can properly think of as a skywalk. He says, quote

590
00:32:51,560 --> 00:32:54,440
Speaker 1: in the Imperial while Lynn Garden in the capital of

591
00:32:54,880 --> 00:32:58,200
Speaker 1: lu Yang of Northern Way, this is the fifth century,

592
00:32:58,320 --> 00:33:02,480
Speaker 1: there was an island name on which buildings were connected

593
00:33:02,520 --> 00:33:07,200
Speaker 1: by a rainbow skywalk, where walking was like flying to

594
00:33:07,480 --> 00:33:11,600
Speaker 1: and fro. Visitors moved about in this garden like celestial

595
00:33:11,720 --> 00:33:15,600
Speaker 1: birds up and down in a divine residence.

596
00:33:16,120 --> 00:33:18,520
Speaker 2: Okay, So when they moved about and it was like

597
00:33:18,600 --> 00:33:21,400
Speaker 2: flying to and fro, does that just mean that they're

598
00:33:21,440 --> 00:33:23,920
Speaker 2: crossing about in the air, they're high up and they

599
00:33:23,920 --> 00:33:27,680
Speaker 2: can see all around, or is there more significance.

600
00:33:27,240 --> 00:33:31,000
Speaker 1: Like I think it's just a poetic way of saying that. Yeah,

601
00:33:32,240 --> 00:33:36,560
Speaker 1: moving from one building to another via a bridge, that

602
00:33:36,680 --> 00:33:39,240
Speaker 1: it creates this feeling of flying. Yeah.

603
00:33:39,440 --> 00:33:39,640
Speaker 2: Yeah.

604
00:33:40,120 --> 00:33:41,920
Speaker 1: I don't think they were on zip lines or anything

605
00:33:43,720 --> 00:33:47,680
Speaker 1: like that. Yeah, nor were they dressed like birds. But

606
00:33:47,680 --> 00:33:50,760
Speaker 1: but there's there's something, you know, almost supernatural about the

607
00:33:50,800 --> 00:33:53,440
Speaker 1: experience of using these elevated walkways.

608
00:33:53,920 --> 00:33:54,240
Speaker 2: Yes.

609
00:33:54,560 --> 00:33:56,240
Speaker 1: So, and it gets a little more interesting when you

610
00:33:56,240 --> 00:33:58,320
Speaker 1: look at some of the details here. So lil Yang

611
00:33:58,360 --> 00:33:59,720
Speaker 1: is certainly a real place and it's one of the

612
00:33:59,720 --> 00:34:02,960
Speaker 1: oldest cities in China, which is certainly saying something. But

613
00:34:03,840 --> 00:34:06,600
Speaker 1: ping Lay is also the name of a mythical island,

614
00:34:06,720 --> 00:34:09,239
Speaker 1: and in fact Pingley is said to be where the

615
00:34:09,280 --> 00:34:12,160
Speaker 1: elixir of life and the eight immortals may be found.

616
00:34:13,160 --> 00:34:17,120
Speaker 1: And the connection here is of course that gardens of

617
00:34:17,160 --> 00:34:20,640
Speaker 1: this sort are meant to be quote unquote fairy lands,

618
00:34:20,960 --> 00:34:24,080
Speaker 1: and in fact ping Lay can be translated as fairy land.

619
00:34:24,800 --> 00:34:28,360
Speaker 1: So these are places of supernatural beauty that invoke different

620
00:34:28,480 --> 00:34:32,200
Speaker 1: models of reality or in the earlier example that you're

621
00:34:32,239 --> 00:34:35,719
Speaker 1: contemplating the Tao as you walk through it, and it's

622
00:34:35,760 --> 00:34:38,959
Speaker 1: mentioned by Zoe, the tall buildings as well were thought

623
00:34:39,000 --> 00:34:42,879
Speaker 1: to invite the spirits to reside in them. So it's

624
00:34:43,360 --> 00:34:45,399
Speaker 1: it's neat to think of. Like I feel like these

625
00:34:45,680 --> 00:34:49,080
Speaker 1: descriptions that he's discussing here, like they really draw in

626
00:34:49,640 --> 00:34:53,080
Speaker 1: things that are certainly unique to like the poetic Chinese

627
00:34:53,120 --> 00:34:56,399
Speaker 1: interpretation it seems, of these structures, but I think also

628
00:34:56,600 --> 00:35:01,000
Speaker 1: they get at our universal attraction to these things. Like again,

629
00:35:01,040 --> 00:35:04,520
Speaker 1: there's something about the skyscraper. There is something about not

630
00:35:04,560 --> 00:35:07,839
Speaker 1: only the sky bridge, but bridge the bridges themselves that

631
00:35:07,920 --> 00:35:10,200
Speaker 1: invite us to them you know, if you're in a

632
00:35:10,200 --> 00:35:12,040
Speaker 1: little park and there are bridges, you got to walk

633
00:35:12,080 --> 00:35:12,560
Speaker 1: across that.

634
00:35:12,560 --> 00:35:15,799
Speaker 2: Bridge, right, yeah, oh yeah, totally. I feel the same way.

635
00:35:15,880 --> 00:35:20,360
Speaker 2: I'm always attracted to bridges and spaces that are not

636
00:35:21,600 --> 00:35:25,200
Speaker 2: just normally readily accessible. Like you know, if I see

637
00:35:25,239 --> 00:35:27,359
Speaker 2: an island in the middle of the pond, I do

638
00:35:27,400 --> 00:35:29,080
Speaker 2: want to go to it. I want to stand there.

639
00:35:29,480 --> 00:35:30,320
Speaker 1: Yeah.

640
00:35:30,520 --> 00:35:33,560
Speaker 2: And of course the same applies to locations high up.

641
00:35:33,920 --> 00:35:37,360
Speaker 2: And this is something that I think is a pervasive

642
00:35:37,400 --> 00:35:40,920
Speaker 2: strain of thought in the ancient world. I guess maybe

643
00:35:40,920 --> 00:35:43,319
Speaker 2: even not just the ancient world, but I would say

644
00:35:43,320 --> 00:35:47,000
Speaker 2: the pre industrial world, the world before skyscrapers became common

645
00:35:47,000 --> 00:35:50,120
Speaker 2: in city centers everywhere, or you know, you just have

646
00:35:50,239 --> 00:35:55,680
Speaker 2: like secular urban density driving occupancy higher and higher. In

647
00:35:55,719 --> 00:35:58,440
Speaker 2: the pre industrial period, I think there was a pervasive

648
00:35:58,520 --> 00:36:04,080
Speaker 2: association between physical altitude and like I don't know, the

649
00:36:04,120 --> 00:36:07,279
Speaker 2: spiritual elevation or holiness or the gods. I mean, I

650
00:36:07,280 --> 00:36:11,439
Speaker 2: think about how many different types of like tower type

651
00:36:11,480 --> 00:36:15,719
Speaker 2: structures are associated with either royalty or divinity, going all back,

652
00:36:15,760 --> 00:36:17,480
Speaker 2: all the way back to like you know, the ziggurats

653
00:36:17,480 --> 00:36:21,800
Speaker 2: of ancient Mesopotamia, where you know, it was literally believed

654
00:36:21,960 --> 00:36:24,719
Speaker 2: that in some sense, the God resides on the top,

655
00:36:24,840 --> 00:36:26,799
Speaker 2: or the god at least will come down to the

656
00:36:26,800 --> 00:36:31,759
Speaker 2: top in some cases. And royal towers, royal palaces with

657
00:36:31,840 --> 00:36:34,160
Speaker 2: you know, things reaching high up in the air. That

658
00:36:34,160 --> 00:36:37,839
Speaker 2: that that's I think we're still impressed by tall buildings now,

659
00:36:37,840 --> 00:36:40,760
Speaker 2: but I think it's lost some of the magical oomph

660
00:36:40,920 --> 00:36:42,600
Speaker 2: that it once had in human minds.

661
00:36:43,160 --> 00:36:45,799
Speaker 1: Still there would be demigods of today like where do

662
00:36:45,840 --> 00:36:48,560
Speaker 1: they want their offices? Where do they want their their apartments?

663
00:36:48,600 --> 00:36:50,879
Speaker 1: They want they want to be at the top, right, Yeah,

664
00:36:50,880 --> 00:36:54,160
Speaker 1: we're still drawn to that. Speaking of really tall buildings.

665
00:36:54,440 --> 00:36:58,440
Speaker 1: One more note about Liu Yang here is that between

666
00:36:58,640 --> 00:37:02,480
Speaker 1: five sixteen and five thirty four CE it contained the

667
00:37:03,440 --> 00:37:07,719
Speaker 1: Young Ning Pagoda, which had an estimated nine stories in height.

668
00:37:07,719 --> 00:37:09,800
Speaker 1: And I think there's some back and forth about exactly

669
00:37:09,800 --> 00:37:14,040
Speaker 1: how tall it was, but read roughly nine stories in height.

670
00:37:14,360 --> 00:37:17,480
Speaker 1: This was one of, if not the tallest buildings in

671
00:37:17,520 --> 00:37:20,759
Speaker 1: the world at the time, according to the sources looking

672
00:37:20,800 --> 00:37:23,759
Speaker 1: at here. It was destroyed by a lightning strike which

673
00:37:24,000 --> 00:37:26,080
Speaker 1: then burned it to the ground. Now, I have not

674
00:37:26,120 --> 00:37:28,120
Speaker 1: had the benefit of visiting any of these sites that

675
00:37:28,680 --> 00:37:31,520
Speaker 1: I've mentioned, here. So certainly if anyone out there listening

676
00:37:31,560 --> 00:37:34,040
Speaker 1: to the show has and certainly if you have photographs,

677
00:37:34,160 --> 00:37:36,840
Speaker 1: I'd love to hear from you, so certainly right in,

678
00:37:37,520 --> 00:37:39,520
Speaker 1: and of course that goes that goes to We can

679
00:37:39,520 --> 00:37:41,960
Speaker 1: say the same regarding any of the sky bridges where

680
00:37:42,120 --> 00:37:47,040
Speaker 1: we're discussing in this episode, or any that we don't mention. Yes,

681
00:37:47,120 --> 00:37:50,880
Speaker 1: send in your skybridge experiences and photographs so that we

682
00:37:50,920 --> 00:37:54,000
Speaker 1: may enjoy them as well. So that's it for this episode,

683
00:37:54,000 --> 00:37:56,279
Speaker 1: but we will be back with a part two on this.

684
00:37:56,320 --> 00:37:59,600
Speaker 1: We have much more to discuss regarding skybridges, but certainly

685
00:37:59,640 --> 00:38:01,520
Speaker 1: go ahead and right in. We'd love to hear from you.

686
00:38:02,080 --> 00:38:04,439
Speaker 1: As always, core episodes of Stuff to Blow Your Mind

687
00:38:04,440 --> 00:38:07,400
Speaker 1: publishing the Stuff to Blow Your Mind podcast feed on

688
00:38:07,640 --> 00:38:10,759
Speaker 1: Tuesdays and Thursdays. On Monday we do listener mail. On

689
00:38:10,800 --> 00:38:13,359
Speaker 1: Wednesday we do a short form artifact or monster fact

690
00:38:13,360 --> 00:38:15,680
Speaker 1: that on Fridays we do Weird House Cinema. That's our

691
00:38:15,680 --> 00:38:17,920
Speaker 1: time to set aside most serious concerns and just talk

692
00:38:17,960 --> 00:38:19,480
Speaker 1: about a strange film.

693
00:38:19,920 --> 00:38:23,080
Speaker 2: Huge thanks as always to our excellent audio producer Seth

694
00:38:23,160 --> 00:38:26,000
Speaker 2: Nicholas Johnson. If you would like to get in touch

695
00:38:26,040 --> 00:38:28,359
Speaker 2: with us, with feedback on this episode or any other,

696
00:38:28,480 --> 00:38:30,480
Speaker 2: to suggest a topic for the future, or just to

697
00:38:30,520 --> 00:38:33,320
Speaker 2: say hello. You can email us at contact at stuff

698
00:38:33,360 --> 00:38:42,480
Speaker 2: to Blow your Mind dot com.

699
00:38:42,520 --> 00:38:45,440
Speaker 3: Stuff to Blow Your Mind is production of iHeartRadio. For

700
00:38:45,520 --> 00:38:47,520
Speaker 3: more podcasts from my heart Radio, visit.

701
00:38:47,360 --> 00:38:50,360
Speaker 4: The iHeartRadio app, Apple Podcasts, or wherever you're listening to

702
00:38:50,400 --> 00:39:00,000
Speaker 4: your favorite shows.

703
00:39:00,200 --> 00:39:03,560
Speaker 1: Sat grit to try to write, to get to