A Radical Riverscape: Architecture and Revolution down the Fleet

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Finsbury

I’m pleased to share another guest post this week; this by Mike Althorpe, aka the London Ambler. This post, based on one of Mike’s guided walks, traces the fascinating housing history and politics of one of London’s most radical quarters. I’ll be participating, alongside author Owen Hatherley and art historian Rosamund West, in Mike’s next tour of the Fleet on June 3.

Of all of London’s great hidden waterways, none can claim the radicalism of the River Fleet. Weaving a route from Highgate to the Thames it has been both life source and life taker, carving out a landscape that became the epicentre for Victorian speculators and have-a-go railway pioneers, but also a landscape where London’s social campaigners, civic reformers and revolutionary agitators found their voice and their architectural expression.

Farringdon Road and the Metropolitan Railway, 1868

To trace its course today, through modern day Kings Cross, Clerkenwell and Farringdon is to reveal the memories of a set of ideas and episodes in housing and urban form that were to have profound national consequences for the UK.

The upper part of the Fleet was locally called the Bagnigge and it was upon the Bagnigge Marsh or Wash where new ideas in housing were pioneered. The river valley defined rich and poor. Put simply, for most of the 19th century the money held the high ground and those without waded in the marsh sharing cheap rents with a host of ramshackle warehouses, service yards, hospitals and factories.

In 1845, living conditions for the poor in Pentonville were deemed critical enough for the Society for Improving the Condition of the Labouring Classes to step in with one of the earliest philanthropic housing ventures in London. On a narrow strip of land behind Calthorpe Street, they created a ‘Model Street’ of 15 buildings for 23 families in a variety of unit types arranged as two respectable terraces.

The ‘model dwellings’ in Pentonville

In one of them there were 30 rooms designated for widows and single women. It was a major advance, but was panned due to its cramped proportions. Writing at the time of its completion The Builder, an influential trade journal of the day, called it a ‘disgrace’, adding that if they didn’t buck their ideas up:

they will rear a hot-bed for infection, and throw a great impediment in the way of that improvement which they profess to seek.

Learning from the mistakes of the Society, just upstream on Wicklow Street, the Improved Industrial Dwellings Company (IIDC) created one of its most outstanding model tenement schemes, Derby Buildings by their builder architect Matthew Allen in 1865.

Derby Buildings (c) Mike Althorpe

The design of the blocks was the outcome of years of refinement loosely based on Henry Robert’s Great Exhibition model dwelling cottages of 1851. At Kings Cross, the IIDC scaled up the idea and gave it a heroic urban form with wrought iron access decks taking pride of place at the street. It was architecture where function and the necessity of plan, creating decent space and good ventilation, led. Many more followed.

The IIDC’s site had been left over by the creation of the Metropolitan Railway who smashed out 50 houses and displaced many local residents in the process. This was a story repeated down the length of the Fleet. The valley was a frenzy of commercial activity. As the railway pushed its way down to Farringdon it laid waste to poor neighbourhoods.

Railway cutting from Farringdon (c) Mike Althorpe

In the 1870s the Metropolitan Board of Works stepped in to make good the destruction, acquiring sites via compulsory purchase and selling them at a discount to private builders who would provide new affordable housing. At the edge of Clerkenwell Green, the Peabody Trust was offered one such site and completed Pear Tree Court, one of its characteristic artisan estates in London stock and Suffolk white brick. Clean and straightforward but, for many critics, monotonous and barracks-like.

Pear Tree Court (c) Mike Althorpe

Critics also highlighted that Peabody, common with many philanthropic housing ventures at the time, operated a strict tenant policy aimed at ‘the deserving poor’. This basically meant that it rehoused those morally upstanding members of the working class who had got married, had stable jobs and the economic means to exercise some choice in their lives. If you were unmarried, jobless, in casual low-paid work or homeless you wouldn’t qualify. It meant therefore that many in most urgent need of housing continued to suffer and were pushed outwards from the area.

By the 1880s, a number of parliamentary acts had been passed to improve working-class housing but the powers and machinery of local government – particularly in London – were grossly inadequate to the task. At a district level, some 30 local vestries existed, most rate-payer dominated and unwilling to act. The Clerkenwell Vestry, on the east side of the Fleet, however, was an unusually activist body as its new town hall, built in avant-garde arts and crafts style in the 1890s, testified.

Finsbury Town Hall

In 1900, this became home to Finsbury Metropolitan Borough Council – one of the 28 new boroughs created in a radical reform of London’s lower tier of local government.  Finsbury would maintain its predecessor’s reforming traditions.

The controversial problem of London’s strategic governance had been dealt with earlier. The Metropolitan Board of Works, established in 1855 to oversee sewerage, streets and bridges, had long been criticised as unfit for purpose – undemocratic (it was indirectly elected by the vestries and district boards) and, in part, corrupt. The establishment, in 1889, of the London County Council (LCC) transformed this picture and its vision and drive was early manifested in the valley of the Fleet where the new municipal government inherited the Rosebery Avenue urban improvement scheme from its predecessor and expanded and completed it in grand style.

The Rosebery Avenue viaduct from Warner Street (c) Mike Althorpe

Straddling the Fleet Valley by means of a hidden viaduct between Clerkenwell and Holborn and engineered by the Edward Bazalgette (son of Joseph of the engineering dynasty), Rosebery Avenue was a new type of joined up urban improvement. It provided not only improved communication across the river valley, but land for housing, for business, civic infrastructure and amenities, tramways, public toilets, gardens and fire station. Clerkenwell Vestry’s new town hall at its northerly end was recognition of this transformation.

At the turn of the twentieth century where once Georgian slums and Dickensian rookeries stood, the LCC could claim this part of the Fleet valley as a piece of model city, a practical monument to social and urban progress which they continued to develop upon. A few years later, on the western side of the valley in Holborn, work started on the Bourne Estate, the third in a new generation of large council housing schemes by the LCC after its celebrated work in Bethnal Green and Millbank.

The Bourne Estate

Elsewhere on the slopes of the Fleet and later in the century, a confident Finsbury Borough Council embraced revolutionary architecture to demonstrate their commitment to social progress, pushing building design further than any other authority in the country had previously dared.

Behind Exmouth Market they completed the Finsbury Health Centre in 1938. Local in purpose, its bold modernist design by Russian émigré architect, Berthold Lubetkin, was ground-breaking and it became a rallying call across the UK for a bold new tomorrow, cementing Finsbury’s reputation as one of the most radical and progressive local authorities in the country and inspiring those campaigning for a National Health Service and an integrated Welfare State.

The Finsbury Health Centre (c) Mike Althorpe

Lubetkin’s association with the borough of Finbury went deep. In his architecture, the leaders of the council had at last found its radical form. It was bold and it was the future. As the health centre was completed, he turned his attention to housing and began work on designing what became the Spa Green Estate, commissioned in 1938 but completed after the war in 1949.

The Spa Green Estate

During the post-war years, to the north of the borough and up the hill from Bagnigge Wash and 90 years on from the IIDC blocks on Wicklow Street, Finsbury’s resolve was unshakable. Sweeping away Georgian terraces and squares originally built for the rich, the tiny borough continued to punch well above its weight and created Bevin Court in 1954, Y-shaped block of 112 flats and maisonettes designed again by Lubetkin.

Bevin Court

With its gymnastic display of concrete engineering and patterns of alternating balconies and windows, Bevin was inspired by the work of constructivist architects in Russia and it is here that the revolutionary spirit of Finsbury perhaps beats at its strongest with the block marking the site of Lenin’s 1903 London home. It was between here and the secret printing press downstream at Clerkenwell Green that revolution in Russia was forged.

With an election looming a walk through the valley of the Fleet is reminder of London’s own radical inheritance. While some of our most severe urban social problems may now lie elsewhere, it is a landscape loaded with the landmarks of a struggle that in 2017 is as poignant and perhaps as urgent as ever.

There are a few remaining places left for the 3 June walk, A Radical Riverscape: Architecture and Revolution down the Fleet. Click the link if you’d like to book.

You can follow Mike on Instagram and on Twitter.

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Harlow: ‘Sculpture Town’

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1960s, 1970s, 1980s, 1990s, 2000s, Gibberd, Harlow

Last week’s post looked at the ideals which generated Harlow New Town’s unique programme of public art works and its early years.  Frederick Gibberd, Harlow’s architect-planner, had envisaged its civic centre as ‘home to the finest works of art’ – both a homage to the past and its Renaissance glories and a mark of the cultured urbanism aspired to in England’s new Elizabethan age.

This is a record of my visit last year, an eclectic mix therefore, rather than a comprehensive record – a sympathetic attempt to see and understand the works in situ and in the context of the mission Gibberd proclaimed.

By the early sixties, Harlow town centre – Gibberd’s broadly conceived civic centre – was taking off. FE McWilliam’s Portrait Figure­, stands in West Walk, bought by the Harlow Art Trust in 1957 after featuring in the London County Council’s open-air sculpture exhibition that year. It’s a portrayal of the sculptor Elisabeth Frink when McWilliam’s student at the Chelsea School of Art.

FE McWilliam, Eve (1956)

Another female figure of much greater vintage was acquired in 1960.  Auguste Rodin’s Eve (part of an unfinished duo – Rodin died before completing Adam) can be found in the Water Gardens rather awkwardly placed just in front of Five Guys – a burger chain, nothing more laddish.

Auguste Rodin, Eve (1882)

Not too far away is Ralph Brown’s Meat Porters, commissioned by the Trust from the artist (persuaded to change its original and appropriate name, Figures with a Carcass) and placed in the recently completed Market Square in 1961: ‘a focus of views in two kinds of civic space, a square and a street…and a pivot between them’.  There’s also something fitting, though far less high-minded, about its current backdrop.  It’s another striking work which seems to have a happy association with Harlow childhoods.

Ralph Brown, Meat Porters 1959)

Gibberd’s Civic Square – his Florentine piazza – and its complement, the Water Gardens, were completed in 1963.  I’ll confess to missing one of the latter’s most striking elements, William Mitchell’s Seven Reliefs/Mosaics which served as fountain heads for the Garden’s elongated water features – my apologies to the redoubtable artist who, born 1925, remains alive and kicking.  That perhaps is a commentary on the now truncated form of this space.  Despite Grade II listing and a vigorous campaign by the Twentieth Century Society, Lady Pat Gibberd and others, new values took priority and, if you Google ‘Harlow Water Gardens’ now you’re more likely to be directed to the ‘300,000 sq ft of retail space and a 70,000 sq ft new town hall’ completed in 2004.

The front page of this early brochure on Harlow shows the Water Gardens and Mitchell’s reliefs in their original form and place. The first Town Hall stands to the rear.

Also easily missed is a work entitled Returning from Work placed at the entrance of Harlow’s Central Library, ‘assumed’ by the Harlow Art Trust to be by Carl Heinz Müller and purchased in 1963.

Carl Heinz Muller, Returning from Work (date unknown)

The New Town was taking off and its now bustling centre received another notable sculpture, Trigon, by Lynn Chadwick, bronze-cast in a Swiss foundry and placed in Broad Walk in 1966.  It’s reminiscent in form of another of Chadwick’s works, The Watchers, placed by the LCC in the Alton Estate in the same year.

Lynn Chadwick, Trigon (1961)

Back in the Water Gardens, Elisabeth Frink’s Boar, though small, is a more eye-catching work.  It was Frink’s first commission, in 1957, the result of a visit by the then Patricia Fox-Edwards to the artist’s 1952 exhibition at the Chelsea School of Art.  Originally made of concrete, it was first placed in Bush Fair, the second of Harlow’s neighbourhoods to be completed, but weathering and vandalism caused it to be recast in bronze and relocated in its present position in 1970. (1)  By 1973, the Harlow Art Trust had installed 27 sculptural works on public sites across the town.

Elisabeth Frink, Boar (1957) in its original location

Boar, recast in 1970, in its current location

Leon Underwood’s clenched fist is Not in Anger.  The original Portland stone version was sculpted in 1925 and can now be seen at the Gibberd Garden designed by Gibberd himself in his later years and surrounding the home, a few miles from Harlow, which he occupied until his death in 1984. The cast bronze version was purchased by the Trust in 1979 and now has a place in The Stow neighbourhood centre.

Leon Underwood, Not in Anger (1975)

Another re-sited work is Echo by Lithuanian-born Antanas Bradzys placed, in 1970, within the Staple Tye shopping centre and moved to an adjacent nearby when the centre was redeveloped.

Antanas Bradzys, Echo (1970)

Three other works by Bradzys feature in Harlow; the largest and the one most remarked upon by residents for its location and visibility is Solo Flight (1982), commissioned by the Harvey Centre and located in the shopping mall until replaced by a lift.  It now occupies a striking position on First Avenue across from the St Mary-at-Latton church though it’s more likely to be noticed by passing traffic than walkers-by.

Antanas Bradzys, Solo Flight (1982)

Since this is a blog dedicated to celebrating the work of local government and unfairly maligned local councillors I’m pleased to record that it’s been dedicated in its new site to the memory of Sonia Anderson, a Labour councillor in Harlow for 41 years and onetime trustee of the Harlow Art Trust:  a champion of ‘social causes, the arts and education’, who died in 1998.  She had arrived in England, courtesy of the Red Cross, a refugee from Nazism of German Communist parents.  To her grandson, she taught ‘the importance of a broad education, reading and the arts…to see past people’s foibles and stand by what you believe in’. (2)  In this, she seems to personify the very best of what Harlow stood for.

Westgate, a rather depressed corner of Harlow town centre, might seem to represent some loss of that vision but it still houses Still Life by Fred Watson, his first major commission in 1985.  Its books surely represent a more elevated of their purpose than the premises just behind.

Fred Watson, Still Life (1985-86)

Anthony Hawken’s Iceni, 1995, a tribute to the Celtic tribe, stands outside a smaller terrace of shops in Colt Hatch, incongruous perhaps but in a good way – a significant artwork placed in the midst of an unremarkable suburban setting.

Anthony Hawken, Iceni (1995)

Shenzhou by Simon Packard is one of the most recent additions to the Harlow scene, commissioned by the Harlow Heath Centres Trust in 2008 and prominently located in the new Addison House Health Centre.  Perhaps that much-visited site, as much as its arresting form and fabric, accounts for the attention it has received, not all of it complimentary.  ‘It looks like it’s done out of tinfoil’, according to one observer. (3)

Simon Packard, Shenzhou (2008)

And finally on my way back to the station I noticed Butterfly, made by Madeline Allen for Barratt Homes in 2008 and sited off Fifth Avenue in a modern housing development.

Madeline Allen, Butterfly (2008)

I went to look at the housing – you can find my earlier blogs on the early years of the New Town and its later development by following the links – but I came away glad to have seen such an array of public art, sometimes for its incongruity but more often for its quality and presence. It was good to see the civic realm – it seems an antiquated phrase nowadays – so prized; pleasing to see Harlow continuing to attempt to live up to its founding values from that era when a post-war Labour government sought to ‘assure to our people full access to the great heritage of culture in this nation’.

Gwen Dymond, Harlow (1968) – a celebration by a local artist of some of the town’s major landmarks

In Lucy Lippard’s words, ‘public art is accessible art of any kind that cares about/challenges/involves and consults for or with whom it is made’. (4)  Has Harlow’s collection lived up those ideals?   The evidence seems mixed.  Clare Healey found just under half of her local respondents thinking that its public art made the town ‘a distinctive place to live’, a little under a third believing it had added to their sense of identity. But then again, almost half wanted more public art.

Typically, her sample liked most those works to which they connected personally on some level – Family Group, Meat Porters and Still Life were singled out in this way and ‘it became clear that residents had trouble relating to the more modem and abstract pieces in Harlow’.  That, I suppose, is a tribute to the gentle humanism which typified earlier post-war works.

All that might seem a limited response to the idealistic vision outlined by Frederick Gibberd on the town’s inception but that ‘taken-for-grantedness’ might be taken as natural as Harlow and the other New Towns become more ‘ordinary’ places.  Familiarity – the fact that these varied works become so easily part of the unremarked day-to-day background of busy lives – breeds, if not contempt, a certain casual disregard.  I dare say the citizens of Florence pass by Michelangelo’s David (or at least its current replica) outside the Palazzo della Signoria on a daily basis without so much as a glance.

 

As a visitor, I remain impressed by the range and quality of Harlow’s artworks and grateful for their placement amidst shops and streets and houses.  For Gibberd the ‘purpose of the sculpture [was] not to decorate the town.  It [was] not a form of costume jewellery’. Rather it was: (5)

To be enjoyed for its own sake as visual art, and to add interest and visual diversity to the urban spaces in which it is set.

In those terms, certainly, Harlow’s efforts have succeeded. ‘Sculpture Town’ may be a bit of touristic rebranding but Harlow deserves the accolade

Sources

(1) Historic England, Wild Boar Sculpture

(2) Cole Henley, ‘Phenomenal People: who’s your inspiring woman?’ (March 2012)

(3) Quoted in Clare Healey, ‘Is Public Art a Waste of Space? An Investigation into Residents’ Attitudes to Public Art in Harlow’, MSc in the Built Environment, University of London, 2008

(4) Quoted in Dolores Hayden, The Power of Place: Urban Landscapes as Public History (1997)

(5) Quoted in the Historic England exhibition, ‘Out There: Our Post-War Public Art’, Somerset House, February-April 2016. The exhibition is currently showing, free entry, at Bessie Surtees House, Newcastle upon Tyne

Details of the artworks are taken from Harlow Arts Trust, Sculpture in Harlow (2005)

Harlow New Town: ‘Home to the finest works of art’

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1950s, 1960s, Gibberd, Harlow

There aren’t too many people perhaps who would compare Harlow to Florence, or at least not favourably, but withhold the cynicism because the Italian city did inspire an important part of the New Town’s founding vision. Frederick Gibberd, Harlow’s architect-planner, believed that the ‘Civic Centre should be home to the finest works of art, as it is in Florence and other splendid cities’.  Later, his book Town Design set out his vision of the ‘kind of environment he hoped to achieve, one in which the creative arts were to be valued and given an important role in the community’. (1)

Gerda Rubinstein, Portrait bust – Sir Frederick Gibberd (1979) in the Gibberd Gallery, Harlow Civic Centre

What follows is a roughly chronological run-through of some of the sculptures and art works dotted around Harlow which aimed to fulfil the ideals of Gibberd and those who supported him. It’s not a comprehensive account – the Harlow Sculpture Trail guide lists 84 works across Harlow – but rather a record of those which caught my eye when I walked the town (it was a long walk!) last year. (2)

It looks at their origin and form and, in practical terms, it looks at them in their physical context rather than as isolated works of art – not in an ‘ironic’ way but rather in an attempt to assess the extent to which what we’d now call Gibberd’s place-making has been successful in giving Harlow and its community a shared sense of civic pride and identity.

To begin with, though, there is a broader context – a post-war world which, in the words of Labour’s 1945 election-winning manifesto, aimed ‘to assure to our people full access to the great heritage of culture in this nation’.  The open-air sculpture exhibitions organised by the LCC in 1948 were only one aspect of this but its first great flowering was the 1951 Festival of Britain.

Of the many works of art commissioned specifically for the Festival, four were to find their way to Harlow in its earliest days, their transfer approved by the then Minister of Housing and Local Government, Hugh Dalton.

Barbara Hepworth, Contrapuntal Forms (1951)

By far the most celebrated of these was Barbara Hepworth’s Contrapuntal Forms, initially created for the Arts Council with a South Bank setting.  Hepworth herself wanted it placed in the Civic Centre – perhaps echoing Gibberd’s own sense of its defining role and status – but, with that being very much work in progress, she accepted it be located in one of the first residential areas completed, Glebelands in the Mark Hall neighbourhood.

Their reception seems to have been mixed.  A local pub landlord thought he could have done no worse with his own hammer and chisel; local women apparently asked why posts for clothes lines were erected – they would have been more useful.  A ‘water-works engineer’s wife and mother of three small children’, whose windows directly overlooked the work: (3)

Felt disappointed when the figures came. Most of us did. A couple of tall, flat-headed forms with holes through their middles. I can understand something beautiful, or something really grotesque…but these, I can’t see where the art comes in.

But she smiled and added, ‘if they were not there we should miss them’.  And indeed, when a proposal was made to re-site it centrally, local residents objected to losing ‘their sculpture’.  It remains in its suburban setting, perhaps accepted as much as loved but a local fixture nonetheless.

Part of Alan Sorrell’s Working Boats from Around the British Coast (1951)

Another Festival of Britain piece was Alan Sorrell’s Working Boats from Around the British Coast, originally made to decorate the Nelson Bar on HMS Campania, a converted aircraft carrier which toured the country’s ports as a mobile exhibit for the Festival.  In Harlow, it originally found a place in the Moot Hall, the 19^th century vicarage converted to serve as a community centre for Mark Hall but disappeared from view till acquired by the National Maritime Gallery in 2014. (4)

A third seems to have been the design of the architect Leonard Manasseh for a bar – the ’51 Bar – at the Festival site itself but details of how and in what form this reached Harlow are sketchy. Does anyone know?  Manasseh himself died, aged 100, in March this year – the last surviving architect to have been directly associated with the Festival.

John Piper’s The Englishman’s Home 1951) in location at the Festival of Britain

The trajectory of John Piper’s mural The Englishman’s Home, the final Festival piece to be relocated, is much clearer.  Its home was initially the Assembly Hall of the Harlow Technical College where it remained until 1992 when the building was remodelled and subsequently demolished.  You’ll find it now, ‘price on request’, with Liss Llewelyn Fine Art in Bond Street. (5)  The small black and white image of the work in place on the South Bank hardly does justice to its rich and dramatic use of colour and form.

All this might seem a little careless but, despite these losses, Harlow has cherished and greatly expanded its arts collection and we’ll examine a cross-section of the wide range of works which remain in place in the paragraphs which follow.

Mary Spencer Watson, Chiron (1953)

With Mark Hall the first neighbourhood completed and the Stow as its first neighbourhood centre, it was fitting that Chiron (the eldest and wisest of centaurs in Greek mythology) by Mary Spencer Watson was placed before the Moot Hall in 1953, a celebration of the coronation.

Chiron was donated by the Harlow Development Corporation but in June 1953 the Harlow Art Trust was formed to oversee future acquisitions.  The Trust was, as you might expect at the time, a body of the great and the good – its first chair was Philip Hendy, Director of the National Gallery and among the trustees were the philanthropist Patricia Fox-Edwards and Gibberd himself. Ms Fox-Edwards would become Lady Gibberd in 1972 when she married Frederick after the death of his first wife.  Fox-Edwards was the youngest trustee – she eventually succeeded Hendy as chair in 1971 – but she played a formative role in the Trust’s early development, visiting degree shows and researching the work of young sculptors to buy or commission.

Henry Moore, Harlow Family Group (1954)

The signature acquisition of the Trust at this time, however, was commissioned from one of the most celebrated of contemporary sculptors, Henry Moore who happened to live not far from Harlow in Perry Green.  Moore suggested a work ‘conceived on human and classical lines’ and his Harlow Family Group possessed a striking resonance for a New Town dubbed by the Daily Mirror ‘Pram Town’: in 1957, almost one in five of Harlow’s population was below school age.  Moore himself had recently become a father too.

It was unveiled in May 1956 by Sir Kenneth Clarke, the chair of the Arts Council, who congratulated Harlow ‘on behalf of all those who believed in civilisation – for maintaining the great tradition of urban civilisation in making a work of art a focal centre of a new town’.  Quite an imprimatur. Originally placed on an open site near St Mary-at-Latton church in Mark Hall, the Times report suggests it gained an early popularity: (6)

Within an hour of its unveiling, the Family had already entered into the life of Harlow. Small boys were getting up on the pedestal, clambering over the woman and taking occupation of the empty place in the man’s lap. At one moment, indeed, the family of three had expanded to one of seven.

Although it was later moved and now occupies a site in the main foyer of the new Civic Centre, it seems to have retained its hold on the affection of local people, singled out as special to Harlow and linked with the personal memories and childhood associations of its residents. (7)

Henry Moore, Upright Motive No 2 (1955-56)

Just outside the Civic Centre in the remodelled Water Gardens lies another Moore sculpture, Upright Motive No 2, also created by Moore in the mid-1950s but bought by the Trust in 1963 with the aid of the Gulbenkian Foundation.

Willi Soukop, Donkey (1935)

In contrast, there’s something charmingly homely about both the setting and the form of Willi Soukop’s Donkey. The original was cast in 1935 for Dartington Hall in Devon but this version was made for Harlow in 1955 and placed unobtrusively in the middle of an ordinary-looking (though, in fact, architect-designed – by Jim Cadbury-Brown) housing estate in Mark Hall South.  It’s actually quite hard to find but seek it out, adjacent to 5 Pittmans Field, and you might treasure it as much as this young girl did.

An earlier image (c) Harlow Museum

You can continue to follow this journey and the chronology of Harlow’s public art in next week’s post.

Note

You can read my earlier posts on the origins and early years of Harlow New Town and its later evolution by following the links.

Sources

(1) Gilliam Whiteley, ‘Introduction’, Harlow Arts Trust, Sculpture in Harlow (2005)

(2) Harlow Sculpture Map

(3) ‘Miss Hepworth Puzzles a Town: the Contrapuntals’, Yorkshire Post and Intelligencer, 29 December 1951

(4) Royal Museums Greenwich Collection, Working Boats from around the British Coast

(5) Liss Fine Art, John Piper: The Englishman’s Home, 1951

(6) ‘Mr Moore’s “Family Group”: Work Commissioned for New Town’, The Times, 18 May 1956

(7) Clare Healey, ‘Is Public Art a Waste of Space? An Investigation into Residents’ Attitudes to Public Art in Harlow’, MSc in the Built Environment, University of London, 2008

The Speke Estate, Liverpool II: ‘Speke is not Sarajevo; Speke is quite a nice estate’

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1980s, 2000s, Regeneration

Last week’s post left Speke, in the 1960s, a thriving community. It would be easy now to focus on its decline and later troubles, to lapse into the language of ‘failure’ that has been affixed so readily to it and other council estates with its implication of some Original Sin, some fatal flaw of conception and planning but, in fact, the Estate has been a good home to many people over time.

The McCartney family were early residents.  Paul spent his early years in 72 Western Avenue and then at 12 Ardwick Road in Speke. The Harrisons lived in a tiny terraced house with outside toilet in Wavertree until, in 1950, they and George moved to a brand new council house at 25 Upton Green, Speke.  (You can read more about the childhood homes of the Beatles in an earlier blog post.)

George Harrison at 25 Upton Green, Speke

Their success story could hardly be typical but plenty of others look back to these years fondly.  You’ll find many of these recollections on the community forums but I’ll begin with one example – from ‘Gillian’ who thought she had better write something or else risk collapsing in ‘floods of sentimental tears’: (1)

My family moved to Speke 1950; from what they had moved from this was luxury. My sister Agnes told me about everything being new, hot running water, toilets inside, the only downside to this paradise was for a while was it was a building site, very, very muddy. In time things changed but it was very much a community, groups and activities were formed. OK, there wasn’t enough schools but other arrangements were made.

She remembers spending time at what passed for the local beach on the Mersey shoreline at Oglet. She recalls her own childhood home, a small block of flats ‘with their three floors of landings and stairs [which] had been brushed and scrubbed and neatly finished off with whiter than white edges and front doorsteps’.

Central Avenue

Another correspondent, resident in Speke for over forty years describes it as ‘a great place to live in the 60s and some of the early 70s’.  But, in a common refrain, he’d ‘seen it change over the years’: (2)

It used to be a lovely place to live…

I lived by the Park when I was younger and it was a lovely park.  There were bowling greens, tennis courts, the lads could play football.

It was a good area for employment when I was younger…

You won’t miss the elegiac tone in those comments, something more than a typical nostalgia for younger days. Those comments contain their own codas: ‘a lovely place to live…Yes, about ten or fifteen years ago’; ‘a good area for employment…and now there is nothing’.

Ardwick Road

Speke did suffer from the outset from its location some seven miles from the city centre. The 45-minute bus ride wasn’t too much of an issue so long as the Estate was, as planned, relatively ‘self-contained’ and economically self-sufficient but that isolation – that sense of ‘an enclave surrounded entirely by the barrier of roads, fields, the airport runway and the River Mersey’ later proved a problem.

‘Dunlop Rubber Co, Works and Environs, Speke, 1952’ EAW047310, Britain from Above (c) Historic England

The major problem, though, was the collapse of a once vibrant local economy.  Between 1978 and 1985, Liverpool as a whole lost 40,000 jobs but Speke was particularly hard hit.  British Leyland had opened its Speke Number Two Plant in 1970. Industrial relations were poor and the TR7 unsuccessful. The closure of the plant and 3000 redundancies were announced in 1978.  Dunlop announced the closure of its Speke factory with the loss of 2400 jobs in 1979.

Eddie Loyden, the local Labour MP, estimated 8000 jobs lost in his constituency in two years: (3)

If one recalls the dream of the post-war period that Merseyside would develop alternative industries to deal with the decline in the docks, in transport and in warehousing, upon which the city had depended for so long, one can see the serious problem on Merseyside.

Loyden would lose his seat to the Conservatives in 1979 and the first attempt to revive Speke’s fortunes was signature Thatcherism – the creation of the Speke Enterprise Zone in 1981. Enterprise Zones offered tax breaks and infrastructure incentives to private companies to relocate to areas of high unemployment.

In Speke, however, the (more or less) free market failed to work its magic – not a single company opened in the Speke Airport Enterprise Zone. As one later observer noted: (4)

Even with the tax incentives nobody wanted to come here – the place still looked awful, still felt awful, still performed really poorly…The area was extremely unwell, almost terminally ill, and the [Enterprise Zone] was like a couple of paracetamol.

The creation of the Merseyside Development Corporation in 1981 was a small boost but, in Speke, nothing much happened until the formation of the Speke Garston Development Corporation in 1996, a joint initiative between the North West Development Agency and Liverpool City Council benefiting from some £14m government funding. (5)

Economic regeneration efforts have continued. Liverpool Vision – an economic development company (the first Urban Regeneration Company established in England) – was established in 1999 and from 2008 has funded the redevelopment of Speke’s district centre. The arrival of Morrisons, Iceland and TK Maxx, alongside smaller retailers, mark the retail successes now taken as an essential marker of economic well-being.

The new Speke Centre

Overall, it’s reckoned that 20,000 jobs have been created locally by the late 2000s though many of these were in the new biopharmaceutical and biomanufacturing sectors – skilled employment in an area where, only a few years earlier, 43 per cent of people had classified themselves as unskilled. (6) The success of Jaguar Land Rover’s Halewood plant just across Speke Boulevard, with its workforce of around 4200, is a welcome boost to more traditional working-class employment in the area – a further £130m extension was announced in January this year. (7)  Printing firms Prinovis and Communisis are also providing good jobs to local people. (8)

In reality, none of this is easy. It’s true that earlier and more direct interventions by the local and national state created substantial employment in Speke’s early years (boosted by the war and post-war prosperity) into the 1970s. But, despite the vigorous efforts of the local labour movement to retain jobs, globalisation (abetted by neoliberalism) has taken its toll on this generation of industry and has created an unemployed working class ill-fitted to the new high-tech industries.  Call centres – aided by the perceived friendliness of the Scouse accent – sprang up in Speke in the 1990s and, no doubt, more zero-hours, unskilled jobs have been created since. (9)

Central Avenue

Meanwhile, an estate which had once catered for a disproportionately (and relatively) affluent Liverpool working-class – those in work who could be reliably expected to pay above-average council rents – was now one of the poorest areas of the city, indeed of the country.  In 2000 it was the judged the second most deprived ward in England; only Benchill in Wythenshawe fared worse.  In 2002, average household income was £5000 below the city average.  Those statistics reflected the high unemployment in Speke (in 2001 over 8 per cent of the ‘economically active’ were unemployed compared to the national average of 3.4 per cent) and the high level of sickness and disability (almost 17 per cent; over three times the national average).

All Saints Road

This was an indication of both the economic tsunami which had befallen Speke in particular and the more general transition of council housing since the 1970s to housing for the least well-off of our society.  In Speke itself around 46 per cent of homes remained social rented but that term denotes another shift – from ‘Corpy’ houses to housing association, largely the result of a large-scale voluntary transfer of stock from the Council to South Liverpool Housing in 1999.

Urban regeneration (as opposed to economic) has affected Speke too.  As the population fell and unsightly voids rose, some housing was ‘tinned up’ and then demolished (which added its own sense of blight for a period) in the late 1980s, some unpopular maisonette blocks were ‘top-downed’, and some new housing built.  The scheme announced by South Liverpool Homes in 2012 offers a cameo of this new world – 110 ‘residential units’ in all: 66 for ‘affordable rent’, 16 for shared ownership and 28 for private sale. (10)  In this case, it is perhaps not so far from the founding vision of Speke as a township ‘planned to accommodate all classes of the community’.

New South Liverpool Housing scheme (artist’s impression)

The difficulties of social engineering through housing design and tenure are well illustrated by the story of the Dymchurch Estate, built earlier on the western edge of Speke to accommodate predominantly older people.  The Estate’s closed court, Radburn-style layout proved unpopular and its homes were increasingly allocated to young and transient single people: ‘the flats became notorious for drug abuse and giro drops’. (11)

For a time Dymchurch was judged locally to the worst part of Speke (the Liverpool Housing Trust has led later regeneration efforts) but the Estate’s residents had become accustomed to a more generalised stigmatisation – the taxi-drivers who would refuse to drive to the area were typically the most visible element of this.  Paddy Ashdown, then Liberal Democrat leader, visited in 1998 (presumably he didn’t need a taxi) and likened Speke to Sarajevo, then in the throes of civil war.

That was a gross caricature as one resident commented: (12)

Speke is not Sarajevo; Speke is quite a nice estate. The only problem is that you have people, who come flying in here, there and everywhere who actually don’t live on the estate, nor can they see the potential of what is going to happen over the next few years.

And indeed much has happened since then.  I won’t privilege my own flying visit over the knowledge and experience of local residents who I invite to add their own impressions but the Estate looked fine to me, its housing in good nick, not visibly depressed and with very little evidence of vandalism and anti-social behaviour and certainly none out of the ordinary.  New schools, a new library, a revived shopping centre look to have lifted the Estate and, of course, it continues to offer decent homes to many.

The story of Speke continues. The story to date is, unavoidably perhaps, of high ambition only partially or perhaps briefly fulfilled – a reminder that we need an economy that works for people as much as those people need good, affordable housing.

Sources

(1) This quote from 2012 and the following from 2014 are from the Speke Guestbook.

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

(3) Eddie Loyden, House of Commons Debate, Dunlop Plant, Speke (Closure), 26 March 1979

(4) Rob Monaghan (Liverpool Vison) quoted in London Chamber of Commerce and Industry, Enterprise Zones: Only One Piece of the Economic Regeneration Puzzle (July 2012)

(5) Thomas Ellerton, Exploring the impact of New Labour urban regeneration policy at the local scale: the implications of an approach to ‘joining-up’ on the coordination of urban regeneration, University of Sheffield PhD thesis (April 2014)

(6) Pavan Mehta, The Impact of Urban Regeneration on Local Housing Markets – A Case Study of Liverpool (ND)

(7) Alistair Houghton, ‘Jaguar Land Rover Extending Halewood in £130m Investment‘, Liverpool Echo, 30 January 2017

(8) My thanks to Kenn Taylor whose comment above pointed me to this positive detail.

(9) Linda Grant, ‘Calm Yourself Down’, The Guardian, 10 July 1999

(10) Homes and Communities Agency, Speke Regeneration Liverpool (November 2013)

(11) Liverpool Housing Trust quoted in David Hall, ch10 ‘Images of the City’

(12) Quoted in David Hall, ch10 ‘Images of the City’