The Speke Estate, Liverpool: a ‘satellite town…planned to accommodate all classes of the community’

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1930s, 1940s, 1950s, 1960s

Speke, lying just over seven miles south-east of Liverpool’s city centre, wasn’t planned as just another large council estate.  The Corporation envisaged it as a ‘satellite town…planned to accommodate all classes of the community’. (1)  At times, the reach of that ambition must have seemed close to fulfilment but by the 1980s some called it – and not in a good way – ‘Beirut’ or, a few years later as civil war raged in the former Yugoslavia, ‘Sarajevo’. (2)  That was never fair and much has changed since.  This post looks at the longer history, the hopes and the fears and the more complex story of the community’s ups and downs.

‘Housing Estate, Speke’

Liverpool – a securely (though idiosyncratically) Conservative authority until 1956 – built over 42,000 council homes in the interwar period, most in large cottage suburbs such as Norris Green, some famously in imposing ‘Continental-style’ tenement blocks.  The Speke Estate represented another strand in this ambitious agenda, providing not just housing but employment as the Corporation sought far-sightedly to shift the city from its dependence on precarious and low-waged dock labour.

The keystone of this approach lay in the 1926 Liverpool Corporation Act which empowered the council to develop industrial estates and parallel housing developments. The Corporation bought the Speke estate – the local gentry family had died out in 1921 and the land had been placed in trust –for £200,000 in 1928.   Then in the neighbouring Rural District of Whiston, the area was formally incorporated into the County Borough of Liverpool in 1932.

Speke Airport’s original terminal building, built 1937-40 to the designs of EH Bloomfield of Liverpool Corporation Land Stewards and Surveyors Office (c) Dave Wood and made available through a Creative Commons licence

Speke Airport, operational from 1930, was the first fruit of this new venture – one of 35 municipal airports opened between 1929 and 1937.  Near at hand lay the Speke Industrial Estate, the first factory completed in 1934.  By 1939, 28 factories were built or under construction, eleven of these provided directly by the Corporation which also advanced over £300,000 in loans to encourage firms to locate in the new estate.  Some 7000 jobs had been provided, most – as war loomed – in the government airframe factory. (3)

A contemporary image of Little Heath Road

Factories needed workers.  At the same time, Liverpool citizens living in the city’s many slums needed decent homes.  In 1935, the Corporation had committed itself to an eight-year programme clearing 15,692 slums and the construction, within five years, of some 5000 new homes.  The Corporation’s transfer of 650 acres of land in Speke to the Housing Committee in April 1936 was central to these plans.

By 1939, 1631 homes had been completed on the Estate although demand was much higher. Companies drawn to the industrial estate by the lure of local housing for its workforce complained about slow progress and the failure of the Corporation to fulfil its side of the bargain; Rootes alone claimed it needed 1285 homes for its workers. (4)  This urgency led to Speke’s early housing being built without subsidy under the 1925 Housing Act.

Lancelot Keay

Just over 50 per cent of this housing were parlour homes, a high percentage in these straitened times and an indication of the prestige of the Speke scheme and the commitment of Speke’s mastermind Lancelot Keay, Liverpool’s dynamic Director of Housing, to high-quality housing.  Even the non-parlour homes were – at 750 square feet – relatively spacious and included upstairs bathrooms. (5)  The rents – reaching 18s 6d (92.5p) for a three-bed parlour home in 1939 – were relatively high and, although some 88 per cent of heads of household were classed as skilled or semi-skilled, there were reports of a high turnover of former central slum dwellers who had moved to the Estate. (6)

These homes were, in the fashion of the day, laid out on ‘Garden City’ lines though, in this case, the lines themselves were rather pronounced.  The existing village of Speke housed around 400; its parish church was judged ‘not of such importance as to be made the focal point of the new development’.

A 1936 proposal for the layout of Speke, later modified, drawn from Keay’s 1936 Report to the Housing Committee

Furthermore, the ‘absence of any natural features, the levels of the grounds, and the regularity of the boundaries,…all tended to suggest a formal layout and the consequent need of a central spacious boulevard and one main cross-road’. (6)  Western Avenue running north-south and Central Avenue east-west continue to mark that original plan with the Estate’s basic grid broken up by the cul-de-sac ways and closes which nodded towards Ebenezer Howard’s more bucolic ideals.

A post-war layout scheme, from Gale. Modern Housing Estates (1948)

Typically, for all community ideals proclaimed at the Estate’s inception, other facilities were slow to follow.  In 1941, tenants were complaining that only three shops had been provided though they had been resident for two years.  (7)

The war had naturally hindered further construction though the important military role of the airport and industrial estate no doubt played its part in the permission granted to build an additional 367 houses during the war itself.  Post-war efforts were dedicated – in the words of Labour’s 1945 election poster, to winning the peace. The attempt to fulfil Speke’s founding ideals was redoubled.

In 1949 Stanley Gale described Speke as ‘unique among housing estates developed by local authorities’.  Although it was not yet a ‘self-contained community’ as planned, its 29 factories were reported to employ some 11,000 workers; the completion of the Estate’s 6000 homes confidently projected.

Greyhound Farm Road, Speke (later the home of the actor Leonard Rossiter)

It’s worth looking at the detail of the latter: that total was made up of over 5143 two- to four-bed family homes with living room and dining room (the change of terminology from ‘parlour’ was itself telling of new times), 250 cottage flats for the elderly, 92 single person flats, and 221 two- to four-bed flats for families with living room and dining room.

This was the ‘mixed development’ – a larger range of housing types to accommodate people in different life stages and circumstances (though, as yet, without high-rise) – which became standard in the post-war years.  In Speke, there was an important added element to reflect that original intent to ‘accommodate all classes of the community’ – 294 large houses with garages and four bedrooms for ‘professional men, managers, etc.’. (8)

‘Houses with garages’, Speke

Here Speke had anticipated the ethos of the New Towns programme launched in 1946 and reflected the vision which Aneurin Bevan – who argued council housing shouldn’t be just for the poor – outlined eloquently in 1949.  Bevan insisted that the ‘segregation of the different income groups [was] a wholly evil thing’, creating ‘castrated communities’, and his new Housing Act removed the stipulation that it be specified as working-class housing.

Gerneth Road, Speke

Lancelot Keay, who considered Speke his last major project, echoed these ideals and hoped, in 1946, to oversee the scheme’s completion – ‘a projected community of about 30,000 persons with all the buildings that will be necessary and with houses for all those who may desire to share in the life of that community’ – in three years. (9)  In a period of such genuine austerity that was over-optimistic.  Keay retired in 1948.  The Estate was completed in the late 1950s with those 6000 homes and a population (its peak population as it happened) of around 25,000.

But Keay understood that Speke’s new community required more than just good housing.  It was, he said:

most essential that we should endeavour to bring back a greater measure of gaiety into the lives of ordinary people.  They should have the opportunity of enjoying all those excitements and pleasantries of life which are too often reserved for those in the higher-income levels. It is for this reason that a central community building will provide, with its dance hall, concert hall and restaurant, for the pleasures as well as the adult education of the people.

The phrasing remains a little patrician, a little ‘improving’ although there’s no mistaking the good intent.  That good intent, however, was slow to be fulfilled.  Keay’s successor as Director of Housing, Ronald Bradbury lamented three years into his term (he served till 1970) that it had ‘not been possible as yet, owing to present conditions, to erect the Civic libraries, departmental stores, swimming baths, hotels, etc., for which sites have been reserved’.  (10)

Austin Rawlinson Swimming Baths, c1965

Speke Central Library, c1965

The new Austin Rawlinson Swimming Bath and Civic Laundry (named after a local swimming Olympian and national coach) and Speke Central Library weren’t opened till 1965.

We’ll leave Speke in its heyday – a place with decent housing, facilities and, most importantly – always the economic underpinning of working-class prosperity – good jobs. Next week’s post will examine its later more troubled history and recent attempts to revive the Estate conceived with such high hopes.

Sources

(1) ‘Housing Progress at Liverpool: Estate for all classes’, The Times, 17 September 1937

(2) David Hall, ch10 ‘Images of the City’ in Ronaldo Munck (ed), Reinventing the City?: Liverpool in Comparative Perspective  (2003)

(3) Stephen V. Ward, ‘Local industrial promotion and development policies 1899-1940’, Local Economy, vol. 5, no. 2, August 1990

(4) Madeline McKenna, The Development of Suburban Council Housing Estates in Liverpool between the Wars, University of Liverpool PhD, 1986

(5) Colin G Pooley and Sandra Irish, The Development of Corporation Housing in Liverpool, 1869-1945, University of Lancaster, Resource Paper for the Centre for North West Regional Studies (1984)

(6) City of Liverpool Housing Committee, Speke Estate: Report of the Director of Housing on a Proposal for the Building of a Self-Contained Community Unit, 21 October 1936

(7) Pooley and Irish, The Development of Corporation Housing in Liverpool, 1869-1945

(8) Stanley Gale, Modern Housing Estates (London, 1949)

(9) LH Keay, ‘Post-war Housing’, RIBA Journal, vol 53, no 7, May 1946

(10) Ronald Bradbury, ‘The Technique of Municipal Housing in England: with Particular Reference to Liverpool’, The Town Planning Review, vol 22, no 1, April 1951

Most of the earlier black and white images are drawn from Liverpool Corporation, Liverpool Builds 1945-1965 (1967)

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Mobilising Housing Histories: Learning from London’s Past: a Review

Peter Guillerry and David Kroll (eds), Mobilising Housing Histories: Learning from London’s Past (RIBA Publishing, 2017)

Back in July 2013, in the very early days of this blog, I attended an invaluable conference hosted by the Institute of Historical Research entitled ‘Mobilising London Housing Histories: the Provision of Homes since 1850’.  I’m pleased to see some of the fine contributions to that conference collected and revised for publication in this new book.  It’s a diverse volume, though pleasingly designed and well-illustrated throughout, with no central theme other than that we can and should learn from our housing history.  As David Kroll’s Introduction suggests:

The book does not provide solutions, but rather affords glimpses into aspects of how similar problems to those faced now were dealt with in the past.

To get the most from the book, accept that simple premise and, in the meantime, enjoy some well-researched and well-written chapters covering a wide range of London’s housing history.

Given the prevalence and continuing and evolving significance of later Victorian and Edwardian speculative housing in the capital – predominantly those terraced homes whose popularity has ebbed and flowed over the years but which now, in London’s overheated housing market, often provide very desirable residences indeed – it’s right and proper that these feature heavily.

The Minet Estate in Lambeth, the ‘miles of silly little dirty houses’ (as they were described by Eric Gill) in south Battersea, gentrified Canonbury, each get informative and detailed coverage as exemplars, both representative and distinctive, of their type.  A later chapter on the ‘sustainable retrofit’ of Victorian houses is highly relevant to contemporary concerns – of high-minded environmentalism at best and middle-class doing-up more cynically.

I’m off-piste here – this is a blog about council housing and we’ll come to that later – but these chapters are important when there’s an almost universal consensus that we must build more homes and, in particular, more genuinely affordable homes.  Today the top ten building companies control around 47 per cent of the new build market (as late as 1980 there were over 10,000 small and medium sized housebuilders; by 2014 that number stood at just 2800) and their primary purpose is to make profits rather than homes.  Together the top ten own sufficient land on which to build well over 600,000 homes but landbanking, restricted supply and higher house prices suit their margins better. (1)

The Minet Estate, Lambeth: Cormont Road gates, Myatts Field Park  (c) Robin Stott and made available through a Creative Commons licence

In Lambeth, the land-owning Minet family promoted large-scale construction by a number of smaller building enterprises.  Design and quality were overseen by their active surveyor; contractor profits were realised by a leasehold arrangement enabling builders to pay a manageable annual ground rent which cut out the capital costs of land purchase.  At a time when inflated land values and corporate capitalism both in their different ways conspire to reduce housing supply, perhaps this is something, as David Kroll suggests, we can learn from.

A plan of the Shaftesbury Park Estate, Battersea, built by the Artizans, Labourers and General Dwelling Company from 1872

Colin Thom’s contribution on Battersea makes a similar point about the role of small builders whilst arguing, in the present-day, that local government and the social housing sector should play a more interventionist role in ensuring that rehabilitated terraced housing remains affordable to other than the well-heeled middle-class who dominate this sector of the London housing market.  The general argument that such housing now provides a popular and adaptable housing form is now widely accepted.

Peter Guillery’s chapter on South Acton (he also provides a useful Historical Overview of housebuilding trends and housing fashions since 1850) reminds us this wasn’t always the perception.  South Acton was a rather isolated and largely working-class community; by the 1890s, its 200 laundries had earned it the soubriquet ‘Soapsud Island’.  By the interwar period and with the later assistance of Hitler’s bombs, the need for the replacement of these terraces – at first piecemeal and then by large-scale redevelopment – became pressing though some questioned the loss of community which might result.

South Acton, 1962

Guillery takes us expertly through the various phases of the area’s public housing history: mixed development to high-rise to the problems and backlash which followed to the comprehensive regeneration of recent years – from a broadly ‘liberal and democratising capitalism’ through post-war socialism to present-day neoliberalism. It’s an empathetic account which understands the unintended consequences of well-meant actions.  Several tower blocks have been demolished; the most recent masterplan envisages the ‘complete replacement of post-war housing’ with the new low-rise, high-density, mixed-tenure developments now preferred.

That might send alarm bells ringing as we look at how similar plans have already affected or threaten to impact the homes of established communities across the capital.  Simon Pepper provides a useful outline of how and why high-rise developments took off in London from the 1960s and why that trend reversed.  The collapse of Ronan Point in May 1968 offers only a partial explanation.

Balfron Tower

Ernő Goldfinger’s Balfron Tower, Grade II listed in 1996, survives and it won’t be demolished but it is being sold off to the private sector and its social housing residents evicted.  David Roberts campaigned to have this social housing heritage honoured, not as ‘exemplar’ but as the essential element of its future use.  Sadly, as he would be the first to acknowledge, Historic England’s Grade II* listing of the building in 2015, made only a token reference to Balfron’s social purpose.

Roberts’s excellent chapter also invites us to re-think how we approach such buildings.  Residents’ participation was central to his campaign, a belated contribution coming long after the media and architectural academics had pronounced their own judgments, positive and negative.  He reminds us too how freighted the term ‘failure’ is and how readily it rests (or is rebutted) on perceptions narrowly grounded in aesthetics or intent rather than lived experience.

Broadwater Farm, Tottenham – allegedly one of the ‘sink estates’ targeted by David Cameron.  Its residents are fighting back against plans to demolish and redevelop parts of the estate.

Issues of perception and labelling are also central, once you get through its rather abstruse academic style, to Ben Campkin’s contribution on ‘sink estates’.  He examines how the label, once applied sociologically to estates in decline, morphed into something cruder and pejorative and how it became the political pretext for an attack on those estates and their communities.  He points too to how resistance from these communities can be rooted in part in the very marginalisation and insult they have suffered.

Peabody Avenue (1895)

The new extension to the estate

There’s plenty more.  Irina Davidovici’s article gamely seeks to rescue the reputation of some of the early Peabody Estates, widely condemned by housing reformers as well as the working class for their austere ‘barracks-like’ appearance. She suggests that recent Peabody buildings and refurbishments do offer a viable and attractive solution to the question of housing density that we are now wrestling with.  Richard Dennis addresses this directly in his chapter on the mansion blocks built mainly but not wholly for the middle class from the 1850s.

It would have been nice to see somewhere a straightforward advocacy of new council housing.  We know the mistakes – many corrected in what turned out to be the swansong of council housing in the 1970s – and we know the traductions, many now being questioned.  There’s no secret that policies which confined council housing to the poorest whilst catastrophically reducing overall stock in the context of an economic maelstrom which robbed so many of decent employment have hurt estate communities.  These are to a far larger extent than we are allowed to think political choices and a brave politics might yet reverse them.

Depending on their politics and professional and personal perspectives, readers will emerge with different take-aways from this volume.  For what it’s worth, mine is how susceptible to changing fashion our views on housing are. One lesson we might draw from the volume overall therefore is that we might be more humble in our judgments and more willing to learn from its best practice.

Mobilising Housing Histories is available now from RIBA Bookshops or from their online store.  

References

(1) Market shares from Tom Archer and Ian Cole, Profits before Volume? Major Housebuilders and the Crisis of Housing Supply (Sheffield Hallam University Centre for Regional Economic and Social Research, October 2016); landbanking figures from  Graham Ruddick, ‘Revealed: housebuilders sitting on 600,000 plots of land’, The Guardian, 30 December 2015

 

Charles Dickens House, Bethnal Green II: The Tide of Tall Building Turns

Tags

1960s, Multi-storey, Tower Hamlets

I’m pleased to feature this week the second part of Andrew Parnell’s fascinating guest post on Charles Dickens House and its wider context. Andrew is a walking tour guide with Footprints of London who leads walks on architecture and housing history. These include his walk Modernism and Modern Dwellings: Housing in Bethnal Green which takes in Charles Dickens House. More information and tickets for Andrew’s walks can be obtained from the website. 

The trend for high towers, system-building and prefabrication in the 1960s which, as described in Part I, influenced Tower Hamlets Council in the planning stages leading to the building of the 22-storey Charles Dickens House on the Mansfield Buildings slum clearance site in Bethnal Green in 1969, did not come ‘out of the blue’.

Charles Dickens House today

From an architectural perspective, tall building had started to be been seen in this country before World War II, with the likes of Highpoints 1 and 2, Berthold Lubetkin’s 8- and 9-storey ‘international modern’ style blocks in north London. Frederick Gibberd’s designs for Harlow New Town included a 10-storey block – The Lawn in Mark Hall North – that was built in 1949 and has been called Britain’s ‘first high block’. The Metropolitan Borough of Bethnal Green – one of the three boroughs that were merged in 1965 to form the London Borough of Tower Hamlets – had in the 1950s employed avant-garde architects, among them Lubetkin and the young Denys Lasdun, who produced blocks of over 10 storeys.

The Lawn, Harlow New Town

Lasdun’s firm in March 1955 had presented to the Bethnal Green Housing Committee a report on a Royal Institute of British Architects’ symposium on high building. Among the findings summarised in their report were: many people prefer living in high buildings because they enjoy ‘better and cleaner air’; low buildings are ‘monotonous’; high buildings can enhance the scene by ‘emphasising prominent points’; and the incorporation of maisonettes (two storey dwellings) in tall buildings had ‘overcome prejudice against living in high blocks’.(1)  This report, whilst seeking to make a strong case for high-rise, nevertheless reflects the view of many design and planning professionals throughout the 1950’s and 1960’s that tall blocks should be used sparingly and judiciously alongside different styles of building (so called ‘mixed development’).

Keeling House (to the left) and the Cranbrook Estate

It is hard not to sense in the Lasdun firm’s report an attempt to ‘enlighten’ the Housing Committee in an area – London’s East End – where it was said by others in the field that some councillors clung to ‘pro-cottage’, ‘traditional’ views on housing design and were therefore in need of a little education by professionals! (2) If that was the report’s purpose, it seems to have worked. The Bethnal Green Council went on to commission Lasdun’s and Lubetkin’s firms to produce some noted examples of modernist housing such as Lasdun’s sixteen storey ‘cluster block’ Keeling House (1955-1957) and Lubetkin’s innovative Cranbrook Estate (1961-1966).

From a technical point of view, system-building and prefabrication can be seen as a product of the fertile period of building research and development of the 1930s, 1940s and 1950s which had seen such innovations as widespread use of reinforced concrete in cross-wall frame and later box-frame construction (eliminating the need for a steel frame).  Architects had embraced the new materials and techniques. They exploited the new ‘lightness’ achievable by the reinforcement of concrete. The geometrical shape and repetitiveness of a building’s structure were seen as things to emphasise, not to hide. Form followed function and produced beauty.

‘Charles Dickens House, Bethnal Green Road, 1967. Bison block showing the varied kind of facing given to the prefabricated panels’ (c) Glendinning and Muthesius, Tower Block

The other thing that these approaches to construction and design leant themselves to was, of course, prefabrication. A repetitive structure of rectangular shapes could be reduced to a kit of simple parts. By December 1965, the Tower Hamlets councillors were receiving a report on a Symposium at Olympia with the title ‘System Building: Can It Be Economic?’. The reported answer to this question was that system-building was ‘clearly cheaper’ and that in tall buildings it was ‘very competitive indeed’.  The Borough Architect obtained the committee’s approval for one ‘senior member’ of his staff to attend an ‘Advanced Course on Industrialised Building’. In May 1966, members of the council reported on a ‘study tour’ they had made to Denmark to look at industrialised building there. (3)

So the proposal put to the Tower Hamlets Housing Committee in 1967 for a system-built tall block – that would be named Charles Dickens House – on the Mansford Buildings site came as no surprise.

‘Mansford Street area’, P14033, 1972, showing Charles Dickens House to right (c) Tower Hamlets Local History Library and Archives

However, in all of this Tower Hamlets was coming a bit late to the party. Nationwide, the bandwagon of high building was well and truly under way by the mid-1960s. Glasgow, in the vanguard, had built three 20-storey blocks in eight months in 1960 which kick-started the chairman of the housing committee David Gibson’s messianic, largely high-rise, housing production drive. Similar dynamism was seen in other areas, particularly large municipalities outside London. To boroughs like these, high-rise and system-building seemed the obvious way to keep up the necessary pace of their building.

The Tower Hamlets committee did not give approval for its first block over 20 storeys high until 1966, and before the 1965 local government reorganisation its three predecessor councils – Stepney, Poplar and Bethnal Green – had approved only one such block between them and the London County Council (LCC) just three in the area. (4)

This comparative dilatoriness in Tower Hamlets – which was reflected in the wider London area generally – could be ascribed partly to the influence prior to 1965 of the London County Council, which was replaced in the reorganisation of that year by the Greater London Council.  The LCC had wielded greater power than its replacement, the GLC, to influence the housing policy of the second-tier London boroughs. In exercising that power, the LCC’s influential architects’ department stood firmly on the side of the ‘design faction’ – arguing for restraint in the use of high-rise building – in a schism that grew up between the ‘designers’ and the ‘producers’ from about the late 1950s onwards. The consensus among design professionals had always been that high-rise should be used sparingly to add variety (‘vertical accents’) in mixed schemes.

At the Mansford Buildings site, Tower Hamlets Council could be seen to be following, at least in the final result, the design faction’s blended approach to tall blocks. Charles Dickens House was inserted into a pre-existing plan for the site that consisted mainly of ‘cluster blocks’ of up to four storeys, producing a mix of housing for approximately 400 families, with shops, licensed premises and other amenities, all at a population density for the 9.5 acres of roughly 136 persons per acre, the density level recommended for inner London areas by the County of London Plan of 1943, a document which set out a vision for London’s reconstruction after the War in a period – the 1940s and 1950s –when the influence of the designers was at its height. (5)

‘Bird’s eye view Mansford Street area’, P104032, 1969 (c) Tower Hamlets Local History Library and Archives

By the late 1950s designers had started to turn away from high-rise altogether, towards other approaches such as low-rise, high-density developments. The concept of ‘urbanism’ gained traction – the idea that a sense of community is engendered by close proximity of buildings, rather than by leaving large open spaces between tall buildings.

The ‘producers’, on the other hand, who tended to be local politicians and officials, were driven by an urgent sense of the need to build quickly and in large numbers and sometimes saw the designers, with their concerns about aesthetics and population density, as ‘other-worldly’, even obstructive. By using the systems of large contractors who had their own design professionals attuned to the need for volume and speed, the producers could bypass those design professionals they saw as less practical.

There were strong feelings on both sides. Producers saw themselves as ‘coalface workers’ compared with the ‘quasi-academic’ designers. Many designers were contemptuous of those who were focussed on ‘mere production’ and saw the indiscriminate use of high blocks to maintain the production rate as a parody and misuse of the original concept of high-rise espoused by professionals in earlier decades. (6).

David Gibson in 1950

David Gibson, in Glasgow, voiced the producers’ justification for their approach in characteristically powerful and moral terms: ‘If I offend good planning principles, it is only in seeking to avoid the unpardonable offence that bad housing commits against human dignity’. For Gibson, aesthetics were never the most important consideration, but nonetheless the very shape of tall blocks – their arresting ‘modernity’ – was in keeping with his vision: ‘In the next three years the skyline of Glasgow will become a more attractive one to me because of the likely vision of multi-storey houses rising by the thousand’.

But soon the towers which had been a powerful symbol of the optimism which underlay the post-war housing production drive became the most powerful negative image of ‘modern’ housing. One contributor to the sudden, almost violent change of public mood occurred just a few miles from Charles Dickens House. In May 1968 in Canning Town, a system-built tower block, Ronan Point, partly collapsed when a tenant’s gas stove exploded in a high floor, killing four people and injuring more.

When the Ronan Point disaster occurred, plans for development of the Mansford Buildings site in Tower Hamlets had been approved and work at the site had already begun. Although the Tower Hamlets Council issued an instruction that no new proposals for high blocks were to be put forward pending the findings of a Committee of Enquiry on Ronan Point, work was allowed to continue on tall blocks in the borough that had already been approved. Later that year, the Enquiry found that high blocks were generally safe but that those built using large panel construction with load bearing walls should have their jointing checked. This included the Bison Wall Frame system being used to build the tower at the Mansfield Buildings site, so its joints were duly checked and approved. As a result, the tower, named Charles Dickens House, was completed and opened the following year.

Ronan Point

The Ronan Point disaster probably accelerated rather than caused the decline in high flats and system-building that ensued. Public, political and professional opinion had already started to turn against modern housing and tall buildings before the disaster in Newham. A number of possible causes can be identified.

As already mentioned, design professionals’ thinking had started to move away from high-rise in about the late 1950s. By the late 1960s, the housing shortage had turned, roughly speaking, into a surplus.

Public clamour for production waned and people now asked ‘What is all this building for?’ (a question to which many in the 1960s would surely have responded: ‘Isn’t it obvious? To get people out of slums!’). The political consensus started to break up when, following wins by non-socialist parties in the 1967-1968 local elections, multi-storey building was for the first time branded ‘Socialist’. In 1968 government subsidies for high-rise building, which had been introduced in 1956-1967, were abolished (although this subsidy had probably always been more of a consequence than a cause of the high-rise trend). Later, the 1970s in particular saw the emergence of management problems and severe anti-social behaviour in some modern developments.

The subsequent history of Charles Dickens House is fairly typical for buildings of its kind. By 2003 – then over 30 years old – it was in a state of serious disrepair: interiors of flats were in a poor state and insulation needed improvement. Residents were concerned at the inadequacy of internal security. With local authorities’ housing budgets now severely limited, Tower Hamlets Council was unable to finance the work needed to bring the block up to the government’s Decent Homes Standard. Borrowing limits meant it could only afford £2.28 million for the building’s regeneration.

In accordance with the ‘new model’ for social housing provision, Tower Hamlets Community Housing – a housing association with access to private borrowing not available to councils – was able to offer £18.5 million. Tenants – some of whom had exercised their ‘right to buy’ and owned long leases to their flats – were presented with a stark choice in terms of the ability of the competing owners to fund needed upgrades and opted for transfer to the housing association. (7)

In recent years, flats in the building, advertised as having ‘unbeatable views…in a well-maintained ex-local authority building’ have been offered for sale at prices in the region of £340,000 (2015) and £450,000 (2016). (8) How far the building can now be said to offer accommodation truly affordable to the section of the community it was built for must be questionable, but the prices at which flats seem to be changing hands must also call into question the often cited ‘truth’ that tall towers are universally viewed as undesirable places to live.

Charles Dickens House today

Over time, architectural preferences and the public mood change, often quickly and radically. Where once the view was expressed that old terraces of housing were ‘past modernising and want blowing up’, they are now cherished and it is tower blocks which, literally, have in some cases been blown up. Charles Dickens House was fortunate to be built before the curtain came down on tower block building and is perhaps fortunate to be still standing and providing homes today. Concerns were expressed about the safety of system-built blocks following Ronan Point and were cited as reasons for some of the tower block demolitions. It is worth noting, though, that Bison Wall Frame blocks in Edinburgh, about which such concerns had been expressed, survived the detonation of 2000 charges of high explosive and had to be smashed by a giant battering ram.

Was it their structural weakness which caused us to start demolishing high towers, or an effect of the changing cycle of public opinion about building styles? Will the cycle one day move on again so that blocks like Charles Dickens House are seen in a more favourable light, as the product of a massive housing production drive that was to no small degree motivated by ideals that deserve our respect?

Sources

With thanks to Tower Hamlets Local History Library and Archives for permission to use the images credited above.

(1) Minutes of Bethnal Green Borough Council Housing Committee, March 1955

(2) Page 180 of Miles Glendinning and Stefan Muthesius, Tower Block: Modern Public Housing in England, Scotland, Wales and Northern Ireland (Yale University Press, 1993), a work on which the analysis of the history of high-rise blocks in this article is largely based and from which the quotations of individuals involved, other than in relation to Tower Hamlets, have largely been drawn

(3) Minutes of Tower Hamlets Borough Council Housing Committee, May 1966

(4) Gazetteer I, Glendinning and Muthesius, Tower Block

(5) Minutes of Tower Hamlets Borough Council Housing, Building and Development Committee, June 1968

(6) The tension between the concerns of designers and the pressure to produce housing output is described at pages 153ff of Glendinning and Muthesius, Tower Block

(7) This account of the later history of Charles Dickens House is drawn from Stephanie Polsky, Dickensian Blocks: East London’s contemporary housing landscape, published in Soundings: A journal of politics and culture, issue 60, Summer 2015, pp 95-106

(8) Rightmove and Find Properly websites