The Blackbird Leys Estate, Oxford: ‘Never accepted as part of the city proper’

Tags

1950s, 1960s, Cottage suburbs

This is the 200th post on the blog.  I’ll be participating this week in the ‘Architecture, Citizenship, Space: British Architecture from the 1920s to the 1970s‘ conference at Oxford Brookes University.  For that reason, I hope you’ll forgive a repost – the first to date – of this piece on the Blackbird Leys Estate which seemed appropriate. Rosamund West, who contributed an earlier post on the blog, will be there too, speaking on ‘Replanning Communities through Architecture and Art: the post-war London County Council’. 

Blackbird Leys, situated on the south-eastern periphery of Oxford, is to all appearances a pretty ordinary, not to say humdrum, council estate.  But it’s achieved notoriety.  Some of this is typical of unloved and maligned marginal estates throughout the country but it’s loomed larger in Blackbird Leys and came to a peak in 1991 when three days of rioting followed a police crackdown on joyriding.

Cowley, 1925

Oxford’s history of town and gown disputation is well-known but the divisions within the city grew after William Morris built his first car in 1913.  From those small beginnings emerged the Morris car factory in Cowley, employing some 20,000 people by the 1970s. Oxford acquired an industrial working class and had to deal with it.

Blackbird Leys was one response.  The city’s population had grown massively in the interwar period and demand for housing was high – there were 5000 on the council waiting list in 1946 and Morris Cars were expanding.   Council planners saw the ‘final solution’ to the housing shortage in the development of large estates on the eastern and south-eastern fringes of the city.

Planning permission was granted in 1953 on 260 acres of land then occupied by a sewage works and farm in Blackbird Leys for an estate of 2800 dwellings with a projected population of 10,000.

The first residents moved in to what was still essentially a building site in 1958.  Work continued over several phases into the seventies when the original scheme was largely complete.

A further expansion took place with the development of the Greater Leys estate on adjoining land in the mid-1980s. Around 14,000 people live in the area now.

Druce Way maisonettes, 1960s

Gentian Road, 1960s

A few residents had moved from a slum clearance area in the city centre and some from temporary housing erected during the war.  Most of the men worked in the car factory and around half the population in the sixties had moved from elsewhere – from Scotland and Ireland in large numbers and from elsewhere in England – for employment.

There were tensions here already that the estate itself did little to warrant.  A local newspaper wrote that the (1):

unlit building sites, inadequate police supervision, parental apathy and the provision of a public house catering mainly for young people, has provided the perfect setting for the idle, the mischievous, and the more sinister night people.

Who were these ‘sinister night people’?  They surely weren’t as exciting as they sound but the phrase gives an early indication of the power of the media to shape perceptions and spread alarm.

Some residents surveyed in Frances Reynolds’ extensive analysis of the estate resented the former slum dwellers:

I don’t like it up here getting all the tail end. It’s a disgusting place. Putting all the backend up here won’t give people like us a chance to make this a decent place to live.

But those who saw themselves as ‘respectable’ might be equally resented by others:

from the beginning the estate was associated with ‘foreign’ workers come to get rich at the factories, with large rough families, and to a lesser extent with slum clearance. It was never accepted as part of the city proper and its reputation began the downward spiral…

From the outset, Blackbird Leys carried a stigma and many of its people felt ignored or victimised in equal measure despite the fact that it was in these early years predominantly an estate of the skilled and employed working class.

One resident recalls (2):

There was this big problem of being labelled. People were not able to get credit and hire purchase if they said they came from Blackbird Leys. Even the vicar could not get a phone in without having to pay in advance. None of us knew why. It was a brand new estate with no past as far as we were concerned. People working at the car works were among the best paid manual workers in Oxford.

That was Carole Roberts who had moved to the estate aged 14 from London when her father found work in the car factory.  She went on to become a Labour Lord Mayor of Oxford but Blackbird Leys would remain her home.

The outstanding feature of the new estate, however, was its demography.  It was built for families and in the sixties one quarter of its population was under five years of age, another quarter of school age.  There were a lot of kids on the estate and later a lot of teenagers.

As to the design of the estate, in a word, it’s unexceptional – which points to both its good and bad aspects.  It was solid, slightly ‘boxy’ housing – good accommodation in and of itself though space standards fell in later years.

Merlin Road

Field Avenue flats

Two fifteen-storey tower blocks with four two-bedroom flats on each floor were opened in 1960s. The Conservative mayor of Oxford who opened Windrush Tower in 1962 described the building as ‘modern living at its best’. But it wasn’t long before the common problems of lack of play space for younger children, lifts breaking down and vandalism of communal areas were being reported.

Evenlode Tower with Windrush Tower to rear © Wikimedia Commons

Housing density was relatively high and many complained about poor noise insulation.

According to one resident:

They put you all so close together yet it’s a big estate.  I can’t explain it. My neighbours are friendly and yet it’s not a friendly place.  I think it’s because we’re all so close together that there’s always somebody doing something to annoy you, if it’s only music, or lighting a bonfire, or mending a car, it’s because we’re all packed together.

The quote also points beyond straightforward design failings to what sociologists have termed ‘neighbourhood sensitivity’ – a reduced tolerance to the behaviour of others reflecting social differences within the community.

Blackbird Leys – despite the easy stereotype of council estates – was not homogeneous.  The divisions which existed between ‘rough’ and ‘respectable’ residents, between owner occupiers (already 20 per cent by 1981) and council tenants,  and between those of different backgrounds  – though ethnicity itself was never a significant flashpoint – reduced tolerance of behaviours beyond the observer’s norm.

The estate was provided open space – particularly in the cul-de-sacs which were built in the early sixties – and later a large recreation ground but these were often not seen as ‘safe’ areas for younger children or inviting areas more generally.  A single large community centre was provided but community amenities as a whole were thin on the ground. [I have added a response to this post by a resident of Blackbird Leys in the comments below which speaks positively of both the planning of the Estate and its current community spirit.]

Each of these elements are the quite normal features and failings of estates designed in the post-war rush to build – and build economically.  But they came together in Blackbird Leys in peculiarly combustible form.  The final piece in the jigsaw came in the estate’s changing demographics.

The 1977 Housing (Homeless Persons) Act – alongside the unanticipated impact of Mrs Thatcher’s right to buy legislation and the halting of council new-build – ensured that ‘vulnerable’ tenants came to form a large part of new tenancies.  This trend was strengthened by the reality that such tenants –in urgent need of housing – were far more likely to be housed in less popular estates with a more rapid turnover of occupants such as Blackbird Leys.

At the same time the eighties’ collapse of the manufacturing economy hit the estate’s economic mainstay.  By the early eighties, the proportion of male heads of household classified as ‘skilled’ had fallen from half to little over a third.  In the same period, the rate of unemployment on the estate peaked at 20 per cent and 50 per cent for those aged 16 to 19.

Statistics indicate that by this time Blackbird Leys was a ‘problem’ estate with more than its fair share of ‘problem’ families.  To select just a couple of examples, the estate contained 15 per cent of the city’s children and 30 per cent of those under social services supervision;  it contained 17 per cent of juveniles (aged 10 to 16) but 27 per cent of those prosecuted for crime.

Of course, such figures are not ‘innocent’.  Residents felt unfairly labelled and ‘picked on’ by the agencies of the state.  The estate’s reputation may also have highlighted problems which were contained or treated differently elsewhere.  Still, the sociological fine-tuning didn’t alter the lived reality of an estate seen by outsiders – and, increasingly, by its own residents – as crime-ridden and dysfunctional.  The residents’ reporting of their own experience of crime or troublesome neighbours confirms this truth even if it’s understood as a complex one.

All this came to a head in September 1991.  ‘Hotting’ – the theft of cars followed by displays of driving prowess on the estate’s streets – had become a local sport for some of Blackbird Leys’ youngsters.  A police crackdown was met by resistance when up to 150 youths stoned riot-geared police officers.

An academic analysis describing such activity as ‘carnivalesque’ is probably designed to enrage Daily Mail readers but the pleasure and meaning of it for participants – in its thrill-seeking and oppositional nature – should be understood.(3)  It was correct to blame media attention – some spoke more darkly of media incitement – for giving a distorted picture of the estate but clearly something had gone wrong.  These marginalised youth on a marginal estate were expressing something, however inchoately.

Another, very different, expression of the local community’s disaffection with the powers-that-be came in 2002 with the election of an Independent Working Class Association (IWCA) councillor, defeating Labour, for the estate.  At peak, the IWCA returned four local representatives.  The IWCA stood on an unashamedly populist platform which stressed New Labour’s abandonment of its class loyalties and called for local action against crime and drug-dealing – against those seen as ‘lumpen’ elements of the local proletariat.

All in all, this seems less a municipal dream, more a municipal nightmare. What more needs to be said?

Well, this for a start, though perhaps it comes too late to challenge all the negatives – two thirds of residents in Reynolds’ survey liked the estate and had no intention of moving.  These contented residents reported they were happy with their homes, their neighbours and neighbourhoods and local facilities.  They were also more likely to have relatives living on the estate.

Mrs Knight, 79 years old, got on well with the local children:

They’re ever so friendly. They call out Hello Nellie when I’m in the street.  They’re never any trouble.  It’s a wonderful place…

A few years later perhaps some of them were stoning the police.

Just last year, a resident who had lived on the estate for 51 years stated (4):

I love it here, even if I won the lottery I wouldn’t move. The area is peaceful, it’s lovely and all the neighbours get on with each other, it’s that community spirit.   Blackbird Leys has so many facilities for children and adults and there’s a lot to do if you are prepared to go ahead and find it.

I don’t claim that these views are representative but they do add nuance.  Council estates are not just bricks and mortar; they reflect complex human dynamics within and the impact of – often very difficult and damaging – political and economic currents without.

Blackbird Leys remains a significantly deprived area: in 2010 Northfield Brook ward was amongst the 10 per cent most deprived in the country – a long way from the ‘dreaming spires’, a marginal estate in every sense of the word.(5)

The Glow Tree which evolved out of a community arts project was unveiled outside the Blackbird Leys Community Centre in 2006.

But Blackbird Leys has always had a community which has survived its problems and battled the stereotypes.  That community exists today in its homes and streets and, semi-officially, in that complex nexus of self-help and state-sponsored regeneration which has emerged since 1997. Crime has fallen drastically, new facilities have been built, black spots eradicated – much has been done (too much according to some disgruntled Oxford residents who feel Blackbird Leys has been singled out for favourable attention) and much remains to be done.

If that seems an anodyne conclusion maybe it’s the only one that captures the past and present contradictions of the estate’s story: never the New Jerusalem, nor ever the Hell on Earth that many portrayed.

Sources:

(1) This quote and unattributed quotes that follow are taken from Frances Reynolds, The Problem Housing Estate. An account of Omega and its people (1986) – Omega was the name Reynolds gave the estate to preserve its anonymity.

(2) Quoted in ‘We’re proud of our estate‘, Oxford Mail, 27 November 1998

(3) Mike Presdee, Cultural Criminology and the Carnival of Crime (2000)

(4) Quoted in ‘Project unveils history of Blackbird Leys‘, Oxford Mail, 9 March 2012

(5) Oxford Safer Communities Partnership, The Indices of Deprivation, 2010: Oxford Results

BBC Oxford has pages on the Development of Blackbird Leys and the ‘Community Troubles‘ of 1991.  The stills of ‘hotting’ and rioting above are taken from the latter.

 

Harlow: ‘Sculpture Town’

Tags

1960s, 1970s, 1980s, 1990s, 2000s, 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’

Tags

1950s, 1960s, 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: 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)

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

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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

Charles Dickens House, Bethnal Green I: ‘Clear the Slums!’ – the Surge that Produced Tall Blocks

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1960s, Multi-storey, Tower Hamlets

I’m very pleased to feature, this week and next, two more excellent guest posts, these by Andrew Parnell.  They’ll focus on a particular and, in many ways, unremarkable tower block in Tower Hamlets but will also provide much of the wider story of the era’s high-rise and system-building programme.

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. 

A rectangular slab of 22 storeys, Charles Dickens House in Bethnal Green is a typical high block of flats of the mid-1960s, one of the many towers that are now an accepted part of our city skylines and go largely unremarked upon; what little comment they do attract these days tends to be of a negative, often hostile kind. The 1960s is hardly today seen as a golden age of public housing design in this country.

Charles Dickens House today

But when high blocks of this kind were being built – as they were in enormous volume in Britain during that decade – they were viewed much more positively. A closer look at the circumstances surrounding the building of Charles Dickens House helps to reveal some of the concerns, pressures and forces of opinion behind the strong tide which brought high blocks to our cities. Even before this particular building was completed, that tide was turning and starting to pull with equal force in the opposite direction, ushering in the widespread condemnation of such high residential towers.

Charles Dickens House was built between 1968 and 1969 for Tower Hamlets Borough Council, one of the relatively new, enlarged London Boroughs produced by the local government reforms of 1965. (1)  An entry in the minutes of that council’s Housing Committee in May 1965 notes that a Compulsory Purchase Order for the ‘Mansford Buildings site’, an area including the current site of Charles Dickens House, had been made in 1963 under Part III of the 1957 Housing Act – legislation which enabled local authorities to acquire and redevelop areas that were deemed unfit for human habitation – slums. An appeal was lodged, delaying the implementation of the order. The committee minutes quote the senior judge hearing the appeal, Lord Justice Salmon, describing the circumstances on the site as: ‘ninety families living in revolting conditions’. (2)

The compulsory purchase order covered an area of 9.5 acres on which stood, among other buildings, a number of tenement blocks built in the late 19^th century. They included Mansford Buildings, after which the clearance site was named, Toyes Buildings and Meadows Dwellings which occupied roughly the plot where Charles Dickens House now stands and which had been built in 1893 by the East End Dwellings Company, one of the philanthropic companies forming the Victorian housing movement which produced this country’s earliest social housing.

‘Toyes Buildings, 1968’, P14569 – before the site was redeveloped (c) Tower Hamlets Local History LIbrary and Archives

Rehousing tenants during the redevelopment of slum areas was always a major task for council housing departments but Bethnal Green encountered some unusual additional difficulty at the Mansford Buildings site. The council had started to rehouse residents of the site whilst the appeal against the compulsory purchase order was pending but members of the Housing Committee were ‘dismayed’ to be told that the owners of Mansford Buildings who had lodged the appeal, Quiltotex Limited, had re-let homes vacated by rehoused tenants notwithstanding that the premises had been ‘admitted to be in an outstandingly unfit condition’.

The Council successfully prevented further such re-lettings at Mansford Buildings but councillors’ dismay resurfaced when they were advised by Mr J Wolkind, the Town Clerk, that after the appeal was rejected the Council still had an unavoidable legal duty to rehouse the fifteen ‘new’ tenant families allowed in by Quiltotex, meaning that the Council had to go through the rehousing process twice. After the intervention of an indignant member of the Committee, Councillor McCarthy, the Council’s Housing Officer, Mr JM Simpson, was asked to enter into correspondence with Quiltotex’s letting agents, Messrs Donaldsons. It emerged from this that the majority of the fifteen new tenants had no prior connection with the borough so they would not have been given priority by the council for housing in Tower Hamlets. However, Donaldsons declined Mr Simpson’s request that Donaldsons themselves and their clients Quiltotex find alternative accommodation for the new occupants they had allowed into the building, arguing that they and their clients, in re-letting the condemned homes, had been ‘performing something of a public service in assisting these tenants in their housing problem’. (3)

It was not only councils in parts of London like Bethnal Green that still – twenty years after the end of the Second World War – regarded elimination of slum conditions as an unfinished task. The necessary repair of damage to housing done by that war had, to some extent, interrupted and delayed the process of eradicating slums that had started before it. Up and down the country in the 1960s, councillors and local government officials still saw getting people out of slums into decent accommodation as a burning need, sometimes expressed in forceful language like that of Bill Reed, Deputy City Architect for Birmingham: ‘For god’s sake get on and build those houses—and get people out of the slums’. (4)

Bill Reed (in centre) with then Birmingham City Architect Alan Maudsley, 1969 (c) Glendinning and Muthesius, Tower Block

Councillors referred to local people besieging them with demands to be rehoused. In Glasgow, probably the country’s most dynamic municipality in terms of house building during the period, planning officer, Ian MT Samuel said that that people ‘couldn’t get out of the old condemned houses fast enough.’ He recalled:  ‘I had a stream of people coming to my office…with the same question: ‘When’s ma hoose coming down?’’ Undoubtedly there were often other, less exalted, motives at play in the minds of these local leaders – electoral advantage, preservation of rateable value, even sometimes corruption – but it is hard to discount completely the sincerity of their stated desire to improve living conditions.

The fact that the new housing to which residents of slums were to be moved enjoyed modern conveniences rarely found in old Victorian dwellings such as the terraced housing of Bethnal Green – like electrical points in every room, water and space heating, kitchen fittings and generous space – was undoubtedly an attraction for residents being rehoused and offset concerns about moving to flats from more traditional housing. In the words of RD Crammond of the Department of Health for Scotland (responsible for housing): ‘To someone coming out of the slums, the idea of going into a house with a bedroom, a proper kitchen, hot water – it was the millennium for them, it was a dream – and it didn’t matter a damn to them if it was in a multi-storey block or a cottage’.  In these post-war decades, the ‘modernity’ of the design, construction and fittings were perceived as a positive, even exciting feature of the new style of housing.

Bob Mellish, 1965

Increasing the perceived scale and urgency of the problem, there was – in addition to the need to replace slums – insufficient housing to satisfy general need in many areas of the country. There was a resulting groundswell – almost a tidal wave – of pressure to build houses, accompanied by a considerable degree of political consensus that the housing to meet the need should predominantly be built by local authorities. The Tower Hamlets Housing Committee in late 1965 was reminded that there was an ‘enormous housing shortage in Greater London’. (5)  Robert (later Lord) Mellish, at the time a London MP and member of the government, urged local authorities: ‘Get ahead, get full steam ahead, get bloody building!’.

At the same meeting of the Tower Hamlets Housing Committee, mention is made of what was seen as one of the primary tools available for solving the problem – industrialised building: non-traditional ways of building using modern materials such as concrete and modern methods that sought to bring the techniques of the factory to the building site. These ‘systems’ made use of prefabricated components manufactured off site and assembled on-site using tower cranes. Large construction companies developed their own systems and offered them to local authorities.

‘System building’ was promoted – and perceived by many – as providing an economical, fast and efficient way of building housing in the form of tall blocks that provided both the density levels required in urban contexts and space between buildings for the other desired facilities such as play and parking areas. Building in this way largely eliminated the need for scaffolding, reduced the amount of skilled labour required and used far less steel than the methods that had been widely used for constructing tall buildings in the past. The last two considerations were particularly important given the onset of building shortages in the mid-1960s. The Tower Hamlets Committee was told: ‘The Ministry [of Housing and Local Government, then headed by Richard Crossman MP]  goes so far as to say that increasing demand in the building industry can only be met by supplementing traditional methods of building and making the best use of new methods and materials’.

‘Concrete Ltd, Bison Wall-Frame System (1962)’ (c) Glendinning and Muthesius, Tower Block

It was natural, then, that after the appeal against the Mansford Buildings Compulsory Purchase Order was finally rejected the proposal put to the Housing Committee for the site, in October 1967, included a system-built 22-storey tower block of flats. (6) The system to be used was the Bison Wall Frame System developed by Concrete (Southern) Limited – the company name could be that of a caricature 1960s building firm! – which was one of the most prolifically used systems nationally.

With the Bison system, a two-bedroom flat could be constructed from 21 precast components produced in one of the Concrete Group’s five factories nationwide. Most of the components were floor or wall panels with wooden door and window frames included (reducing carpentry needed on site) and provision for wiring and piped services embedded in them. Among the 21 parts, there were separate sections forming stair or lift wells (extending over three stories), staircases and a single bathroom and toilet unit weighing over seven tons (still well within a tower crane’s capacity to hoist up to the required level). (7)

‘Monteith Road under construction’ (c) Tower Hamlets Local History Library and Archives

Tower Hamlets Council’s first fully industrialised high-rise block was Bacton Tower built by the contractor Wates in 1966. But it was Concrete (Southern) which established a contractual relationship with the council that would produce a series of seven blocks in a ‘production line’ typical of the high-rise building of the time. All seven were of 22 stories containing 130 dwellings. The first three were at sites in Monteith Road (two blocks) and Wellington Way in Bow.

Monteith Road opening with Anthony Greenwood (c) Tower Hamlets Local History Library and Archives

The cost of building was of particular importance at a time of national financial difficulty. The pound had been devalued in 1967 and in December the following year the Minister of Housing, Anthony Greenwood, had urged the council: ‘we must secure a substantial surplus on our balance of payments’. At an earlier site at Roman Road, the Borough Architect and Planning Officer, Mr J Hume had recommended a last-minute switch from the contractor Rowley Brothers’ planned ‘traditionally built’ 20-storey tower to one of Concrete (Southern)’s 22-storey Bison blocks in order to produce a £1000 per dwelling reduction in cost required to satisfy the government’s ‘cost yardstick’ for obtaining ‘loan sanction’ for funding. He presented comparisons to the Housing Committee showing the traditional 20-storey tower producing 115 dwellings for £568,000 while the Bison 22-storey tower produced 130 dwellings for £455,806.

The committee was not best pleased that substantial professional costs had already been expended on the to-be-discarded traditional building at Roman Road and would now be wasted. They called for an ‘investigation of reasons’ for the situation by councillors with the borough’s professional advisers and officers. Mr Hume obtained approval to proceed with the Bison tower, but the meeting and subsequent ‘investigation’ may not have been entirely comfortable for him! (8)

Bison blocks at the Monteith Road and Wellington Way sites Tower Hamlets

When it came to the Mansford Buildings site, it was decided that the first stage of the development should take the form of another Bison block under a contract negotiated ‘in the same way as Monteith Road’ with Concrete (Southern) with whom the Council had ‘an excellent negotiating relationship’. Mr Hume reported that ‘after much study’ it had proved necessary to revise plans for the site by including a 22-storey block. This would make it possible to develop the site ‘properly’ to the required population density, to keep within the government’s cost yardstick and to provide ‘necessary play spaces, parking spaces and all other amenities required’. (9) He was here voicing some of the principal perceived attractions of industrialised high-rise building.

The stage was now set for Charles Dickens House be built.  We’ll follow that story in next week’s post.

Sources

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

The photograph of Bob Mellish is by Walter Bird and is made available by the National Portrait Gallery under a Creative Commons licence.

(1) TFT Baker (ed), A History of the County of Middlesex: Volume 11, Stepney, Bethnal Green,(Victoria County History, London, 1998), republished by British History Online provides a comprehensive history of the politics and buildings of the area

(2) Minutes of Tower Hamlets Borough Council Housing Committee, 1965

(3) Ibid., 1965-1966

(4) Miles Glendinning and Stefan Muthesius, Tower Block: Modern Public Housing in England, Scotland, Wales and Northern Ireland (Yale University Press, 1993) 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.

(5) Minutes of Tower Hamlets Borough Council Housing Committee, November 1965

(6) Minutes of Tower Hamlets Borough Council Housing, Building and Development Committee, October 1967, Report of Architect and Planning Officer

(7) The Architects’ Journal, 11 July 1962 and illustrated in Glendinning and Muthesius, Tower Block (see note above) at page 86

(8) Minutes of Tower Hamlets Borough Council Housing Committee, September 1966

(9) Minutes of Tower Hamlets Borough Council Housing, Building and Development Committee, October 1967

The Chinbrook Estate, Lewisham: a ‘tremendous improvement in environment and standard of living’

Tags

1960s, Lewisham

We’re looking at ‘Corporation suburbia’ – less eye-catching and less controversial than the high-rise which disproportionately grabs people’s attention when it comes to public housing but actually its most representative form.  A small corner of south-east London helps us tell this story.  Last week’s post looked at the Grove Park Estate, one of the best of the ubiquitous interwar cottage suburbs.  This week’s focuses on the Chinbrook Estate, planned by the London County Council from 1961 and completed by the Greater London Council after 1965, representing, in my view, one of the most attractive and thoughtfully designed post-war estates.

‘Chinbrook Estate, Grove Park: residential tenements’ (1967) (c) London Metropolitan Archives, collage.cityoflondon.gov.uk

Last week, we left Lewisham and the country in 1939 about to be plunged into war.  The Borough, industrial to the north but with extensive residential districts on the bombers’ flightpaths, suffered more than most.  Of Lewisham’s 56,000 homes, 10,303 were destroyed or rendered uninhabitable by enemy action; almost 9000 further were seriously damaged but judged habitable.  By November 1945, there were 11,945 families on the Council housing waiting list of whom 4541 had been rendered homeless by the Blitz. (1)

The first duty of central and local government was to alleviate the unprecedented housing crisis.  A crash programme of repairs was an immediate priority, beginning before the war’s end.  The Council reckoned that, at peak between 1944 and 1946, 6400 ‘workmen’ (and perhaps a few ‘workwomen’ at this time) were repairing the Borough’s war-damaged homes. (2)

As of March 1947, 3806 private houses had been requisitioned, providing homes now for around 5000 households.  Conservative legislation in 1955 ended councils’ requisitioning powers and required properties be returned to their owners by 1960.  Many of the almost 1400 properties held by Lewisham into the late 1950s were purchased by the Council. (3)

The housing crisis provoked less official responses too. As part of a national wave of squatting action, 30 huts on an anti-aircraft site in Blackheath were occupied by homeless families in September 1946 and 19 huts next to Ravensbourne Station, formerly in military use, shortly after. The Council laid on water and electricity and provided ‘sanitary conveniences’.  Twenty-one military huts on a site at Hilly Fields in Brockley were officially allocated to the Council.  Some 125 wooden ‘hutments’, built to last two years, were also built in the Borough.

The other major element of the emergency response were the prefabricated bungalows – factory-built, rapidly erected, planned to provide modern, well-equipped family homes for an anticipated ten-year life-span.  The 1944 Housing (Temporary Accommodation) Act committed £150m to the programme which ended in March 1949 and a total of 156,623 prefab homes were erected across the country, allocated to local authorities according to housing need.

A Lewisham prefab; this one was sited on Marnock Road in Brockley (c) Lewisham Local History and Archives Centre

Lewisham’s needs were pressing and a total of 1484 prefabs – 660 by the LCC and 824 by the local council – were provided across the Borough on 70 separate sites.  One of the largest – and certainly the most persistent of those – was the Excalibur Estate; 187 homes built on former parkland to the north of the LCC’s Downham Estate. Here and elsewhere in Lewisham, most were of the Uni-Seco Mark I and Mark III type, constructed of resin-bonded plywood or light timber framing clad in flat asbestos cement sheeting with a wood wool core.  A small number were of the steel-framed Arcon Mark V model.

Kingsley Wood Drive, Coldharbour Estate (c) www.robclayton.co.uk

Permanent post-war reconstruction was marked by Nye Bevan’s opening of the first new home in Woolwich’s Coldharbour Estate in July 1947, built to the east on the last remaining farmland within the LCC’s borders.  It comprised around 1700 homes on completion in the mid-1950s.

Meanwhile, the prefabs remained.  One of their largest sites – with around 209 homes – was an area of farmland between Grove Park Road and Marvels Lane acquired by the LCC.  They seem to have provided decent homes and for children – with a recreation ground, Chinbrook Meadows and the River Quaggy close to hand – a happy childhood. (4)  As they grew up, the Chinbrook pub (later the Grove Park Tavern) on the opposite corner offered more grown-up entertainment. The pub was demolished in the 1990s, replaced by retirement flats (though, confusingly for newcomers, the local bus stop retains the name).

Those prefabs were demolished in the early 1960s. In their place, the LCC projected and the GLC completed an attractive, predominantly low-rise estate – a modest, small estate at first glance but one which in its own terms was a state-of-the-art fulfilment of the latest planning and architectural thinking.  The Chinbrook Estate deserves a closer look.

‘Grove Park Youth Club: exterior’ (1966) (c) London Metropolitan Archives, collage.cityoflondon.gov.uk

Firstly, the 1961 plans show sites set aside for a youth club and an old people’s clubroom.  The great criticism of the earlier (and much larger) cottage suburbs had been their lack of community facilities, their dormitory feel.  Here, a conscious attempt was made from the outset to provide social amenities which would support community and local identity. (We’ll come back to this.)

‘Chinbrook Estate: residential tenements’ (1968) (c) London Metropolitan Archives, collage.cityoflondon.gov.uk

‘Chinbrook Estate, Grove Park Road: residential tenements’ (1967) (c) London Metropolitan Archives, collage.cityoflondon.gov.uk

The estate’s pedestrianised layout wasn’t innovative – Radburn-style plans (which separated cars and pedestrians by a system of cul-de-sacs, feeder roads and walkways) had been recommended in the Ministry of Housing’s 1953 Manual.  But, on a smaller estate such as the Chinbrook, with garaging and parking spaces reasonably integrated with the housing, they seem to have worked better though they look neglected at present. Those 1961 plans which allocated parking to around half the estate’s households must also have seemed pretty forward-looking at the time in their anticipation of a more affluent and car-owning working class.

To the left: ‘Chinbrook Estate, Grove Park Road: residential tenements’ (1967) (c) London Metropolitan Archives, collage.cityoflondon.gov.uk. To the right, a contemporary image of the same block, Kingsfield House, from the rear (c) www.robclayton.co.uk

The mixed development which Chinbrook embodies – a range of housing types and forms to suit a varied mix of households – was also an established concept by the early sixties but the estate provides an impressive cameo.  There are two eleven-storey point blocks – Merryfield House to the north next to Grove Park Road and, tucked away in the south-east corner of the estate, Kingsfield House, together comprising 177 of the estate’s 395 homes.

Homes on Lambscroft Avenue (c) www.robclayton.co.uk

These are attractive blocks in landscaped grounds, ‘in keeping’ with the wider estate and a fine fulfilment of mixed development’s aesthetic ideals.  The rest of the Estate comprised some 218 two-storey terraced houses which provided family accommodation while low-rise flats were built for couples without children and elderly people.

What was exceptional – and what is even clearer from the early photographs of the Estate before the depredations of Right to Buy – is the overall architectural and design quality of the Estate.  It’s an intimate space on a human scale with its mix of homes and its footpaths, service roads and open spaces forming an integrated whole.  In contemporary terms, placemaking is the prized ideal.  The built environment of the Estate and its cherished community facilities seem, to me, to fulfil this ideal.  As the mass rehousing drive of the sixties took off – on a scale and in a form often much criticised since – Chinbrook is a reminder of the best that might be achieved with proper investment and careful planning.

‘Chinbrook Estate: completed housing development’ (1963) (c) London Metropolitan Archives, collage.cityoflondon.gov.uk

That was certainly the belief of the Civic Trust who commended the Estate in 1967. In their words: (5):

The elevations have been consistently and simply handled in red brick and white shiplap boarding forming a pleasant and bright background to the well-proportioned pedestrian ways and squares formed by the layout. The landscaping, both hard and soft, is well detailed and has been carried through with functional simplicity. The design, heights and interrelated use of screen brick walls and railings very successfully interplay enclosure and openness as one walks through the area.

As a reminder that even the best estates need continued upkeep and investment, we might note the regret they also recorded that ‘the high standard of detailing in the landscape has been rendered widely ineffective by poor maintenance’ but the favourable comparison with the nearby and more traditional cottage estates remained.  Chinbrook illustrated:

the tremendous improvement in environment and standard of living which results through the segregated layout, open-space amenities, well-proportioned pedestrian streets and effective landscaping, compared with the front access and unsympathetic layouts of the earlier housing estates adjacent.

Kingsfield House and flats along Lambscroft Avenue (c) www.robclayton.co.uk

The Greater London Council’s justifiable pride in the Estate was shown when Chinbrook was selected – alongside two other GLC showpieces of the day, the Pepys Estate and Thamesmead – for a visit by delegates of the Housing Centre’s annual conference in 1969. (6)  The Estate was also featured in a celebration of the Council’s work, GLC Architecture 1965/70, published in 1970.  The latter reminds us too – as housing responsibilities within the capital itself were increasingly devolved to the new London boroughs – of the GLC’s housing schemes in the expanded and overspill towns of the later 1960s, many of which resembled Chinbrook in form and ethos.

The Span estate of Corner Green, Blackheath (c) Twentieth Century Society

Another significant point of comparison is with the much admired Span housing of the period.  Span was a private property development company formed in the late 1950s by Geoffrey Townsend and the architect Eric Lyons which built around 2000 homes in London and the Home Counties with some of its most notable schemes in nearby Blackheath.  These were homes intended, in the company’s own words, ‘to span the gap between the suburban monotony of the typical speculative development and the architecturally designed, individually built residence that has become (for all but a few) financially unattainable’.(7)

The genius of Span was to combine modernist design – open plan interiors, large windows, flat roofs – with traditionally more ‘suburban’ features in the use of brick, tile-hung walls and timber panelling. Of equal importance was a setting designed ‘hand-in-hand with the design of the dwelling’, integrating roads, car parks, play spaces and aspiring to create ‘an ambience and scale hitherto unknown in housing for ordinary people’. (8)

Mirror Path

That, to me, is strongly reminiscent of both the design and ambition of the Chinbrook Estate – with one key difference.  Span’s ‘ordinary people’ were aspiring professionals whereas one of the earliest residents of Chinbrook (who had moved from a post-war prefab) recalls that ‘most of [its] families were young and came from New Cross, Deptford, Bermondsey, Rotherhithe, Blackfriars and other inner London suburbs’ – hence, it was said, the huge support for Millwall on the Estate. (9)  I’m guessing that no-one liked Millwall on the Span estates.

Old people’s bungalows (c) www.robclayton.co.uk

I can’t trace any direct association between Span and the GLC’s schemes and, unfortunately, I can’t name the individual architects and planners directly responsible for the Chinbrook Estate.  With the public service ethos strong, the Estate is credited more collegiately to the GLC’s Department of Architecture and Civic Design; KJ Campbell, was Principal Housing Architect at the time. (10)

By the 1980s, public service had become – in the mind-set of the governing Conservative Party at least – a discredited concept.  Right to buy was a deliberate attempt to break up and shake up council estates and its legacy is plain to see on the Chinbrook Estate. The quality of Span’s middle-class housing is preserved by covenant; no such restrictions have conserved the design sensibilities and architectural consistency of Chinbrook.

The effects of Right to Buy

There’s no snobbery at all in decrying the fashion for pebbledash and other such accretions which seems to have afflicted many of the newly owner-occupied homes in the 1980s.  In fact, even in market terms, one can’t help but think that the value of that private housing would be enhanced had the overall look and ‘feel’ of the Estate been better maintained. Ironically, the fittings and fixtures in the communal areas of the tower blocks have been superbly preserved and provide a wonderful glimpse of in-situ 1960s modernism.

Images (c) www.robclayton.co.uk

We’ll give the current landlords of what we must now call the Estate’s social housing some credit for that although – from my talks with local residents – there is little affection for London and Quadrant (L & Q) in general.  A ‘large-scale voluntary transfer’ of some 1099 council properties and 350 leasehold in Chinbrook and adjoining Grove Park estates took place in 2008.  On a 55 per cent turn-out, 77 per cent of those balloted, supported the transfer from the council to the housing association.  It was, as was the way, an offer that was hard to refuse.  Decent homes upgrades were required by law, security and environmental improvements were desired by residents, and Lewisham – in common with other councils – was denied the necessary public funds to carry out the work.

L & Q, which now owns and manages around 70,000 homes in London and the South-East, is now the largest landlord in the capital.  It’s also one of the most aggressively entrepreneurial of the new breed of housing associations, self-described as ‘one of [London’s] largest residential property developers’. It’s small wonder, then, that parts of the Chinbrook Estate might look and feel somewhat neglected.  The shine of that promised investment rapidly dissipated.

‘Chinbrook Estate: exterior of clubroom’ (1968) (c) London Metropolitan Archives, collage.cityoflondon.gov.uk

Typically, given the drive to monetise assets, one of L & Q’s first actions was to demolish the old people’s clubroom.  The Estate’s ageing population now has to attend a nearby general purpose community centre.  The superb building has been replaced by two plain and undistinguished semi-detached houses which make little reference to surrounding architecture.

The youth centre today (c) www.robclayton.co.uk

The purpose built youth centre on Marvels Road was closed by Lewisham Council in 2013 and residents fear that it could be demolished and the land sold for housing.  It has been neglected since this closure but, look more closely, remember its past and imagine its future, and you will see an outstanding community facility.  It was designed for the LCC’s Education Department by some of the most distinguished public architects of its day and created as an adaptable and flexible space incorporating the ideals and practices of some of the key architectural movements of the twentieth century.

‘Grove Park Youth Club: interior’ (1966) (c) London Metropolitan Archives, collage.cityoflondon.gov.uk

With a design eye, you’ll see the influence of the Bauhaus movement and its credo ‘truth to materials’; you’ll see too the ‘people’s detailing’ of Swedish modernism.  As a local resident, you might remember the centre as a community hub – not only a valued resource for the young people of the estate but, as I was told, a regular venue for wedding receptions and many other community functions.

But, ultimately, this isn’t about architecture (though the loss of such a fine building would be criminal) and still less is it about nostalgia.  This is about a facility which is needed by local children and teens and which could, in the imaginative but highly practical plans of the community group campaigning to save it, serve the wider community in many ways. (11)

Charlesfield (c) www.robclayton.co.uk

When the Chinbrook Estate was built five decades ago, the GLC – as a progressive and innovative council – took care not only to provide good homes and a decent environment but also the amenities to support and sustain community. Such values have been eroded and the reforming role of local government disastrously curtailed.  Nowadays, it seems we must fight these battles again.

Sources

My thanks to Rob Clayton for his guided tour of the Estate and his photographs.

Thanks again to the London Metropolitan Archives for permission to use images from Collage, their wonderful on-line picture archive.

(1) Metropolitan Borough of Lewisham, Housing: Report of the Housing Committee on the Post-War Housing Activities of the Council up to 31 March 1947

(2) The Metropolitan Borough of Lewisham: the Official Guide of Lewisham Borough Council (1948)

(3) The Metropolitan Borough of Lewisham: the Official Guide of Lewisham Borough Council (1958)

(4) Various recollections of the Mottingham prefabs can be found on the Francis Frith site here and here.

(5) Civic Trust Awards, ‘Chinbrook Estate, Lewisham/Bromley’ (log-in required)

(6) ‘Conference Study Tour, 9th July 1969, to Thamesmead, Pepys and Chinbrook Housing Estates’, Housing Review, vol 18, no 3, September-October 1969. (The Housing Centre Trust was a voluntary organisation which acted as a meeting ground for organisations and individuals engaged in housing and as an information centre on housing issues.)

(7) Quoted in Modern Architecture London, ‘Span Blackheath’

(8) Eric Lyons quoted in Barbara Simms, ‘Landscape Conservation on Span Estates’, Landscapes of the Recent Future: Conserving the 20th Century’s Landscape Design Legacy, Docomo E-proceedings April 20101

(9) ‘Paragonslate’ comment on Francis Frith, ‘Mottingham Prefabs: a Memory of Mottingham’

(10) One little known fact is that Eric Lyons adopted a lot of standardised building components for Span schemes which were originally developed by Oliver Cox for the LCC which then commissioned their manufacture by private companies. My thanks to Tom Cordell of Utopia London for this information (personal communication, 13 February 2017).

(11) You can read more of these plans in An Alternative Plan for Grove Park Youth Centre: A Community-Led Plan to Regenerate Grove Park and should visit the website of the Grove Park Youth Club Building Preservation Trust set up to save the youth club for further information on the campaign.

Brutal London by Simon Phipps

Tags

1960s, 1970s, Brutalism

There’s been a spate of books on Brutalism recently but I’m happy to recommend Brutal London by Simon Phipps to the many enthusiasts out there. It’s a lavishly illustrated, 192-page guide to 93 of the major examples of the genre in the capital, organised in an accessible borough-by-borough form.

Thamesmead (1967-74), Greenwich

Phipps’ powerful images – the heart and soul of the book – are in the monochrome which is de rigueur for a certain type of architectural photography but it works particularly well in capturing the stark power of Brutalist buildings: in the author’s words, providing ‘a stripped down aesthetic for a barebones architecture’.

However, he adds a brief, thought-provoking foreword and a very useful end section of Building Information.  The latter includes details of when the buildings were built and their architects – this detail can be surprisingly onerous to track down so I’m grateful for his efforts – as well as some extended observations on selected examples. It’s good to see maps included too, not practical for navigation but a useful guide to location.

I’m not an enthusiast of Brutalism as such…before some of you stop reading just there, let me clarify. I do admire the bravura and sheer presence of many of the best examples but, as an historian, I’m more interested in a building’s social and political ‘story’, particularly that of the council housing which forms the mainstay of this blog.  Of course, architecture and design are very far from innocent of social purpose and ideology and, nowhere is this more true than of British Brutalism – ‘widely seen as the architectural style of the Welfare State’. (1)

Phipps himself notes how ‘certain design elements suggest the socially progressive politics of the post-war state made manifest in the minds of architects’.  In a particularly powerful phrase, he commends this ‘forceful, belligerent, conceptually considered and egalitarian architecture of social purpose that manifested itself across post-war London’.

Robin Hood Gardens (1969-72), Tower Hamlets

It’s interesting to note that a majority of the case-studies are of housing – a straightforward illustration of the argument – and salutary to note, as Phipps does, our loss of purpose in this regard with the demolition of the Heygate Estate and imminent destruction of the Robin Hood Estate.  (Goldfinger’s Balfron Tower and Lasdun’s Keeling House have been or will be sold to the private sector – a mark both of Brutalism’s now fashionably cherished status and our contemporary disregard for the high-quality working-class housing that was central to that post-war vision.)

Other flights of eloquence – reflecting his own arts and design background and a predominantly aesthetic appreciation of Brutalist architecture – leave me a little colder but I’m sure will speak powerfully to the movement’s fans.

Phipps adopts the seminal definition of Brutalism deployed by Reyner Banham in his path-breaking 1955 essay. (2)  The New Brutalism (as it was then) is characterised by:

formal legibility of plan, clear exhibition of structure and the valuing of materials for their inherent qualities “as found”.

It’s a broad definition and it allows Phipps to include a number of works that I wouldn’t personally have considered Brutalist. I’ve tended to assume that the use of concrete (particularly the béton brut often thought to have given the style its name) was a crucial component but I’m happy to leave this to be debated by the experts and enthusiasts and grateful that the wider perspective allows us to look anew at a number of significant schemes.

Paddington British Rail Maintenance Depot (1966-68), Westminster

You’ll find the expected showpieces here – the National Theatre, the Royal College of Physicians, the Institute of Education – and a few you may have overlooked – a fire station and British Rail Maintenance Depot, both in Paddington, for example.  In terms of housing, there’s the Barbican, of course, and in the genuinely social housing that interests me, Balfron and Trellick, a number of the wondrous Camden estates of the 1970s, and many others. (3)

Alexander Road Estate (1972-78), Camden

Alton West, Alton Estate (1955-58), Wandsworth

Alton West is included naturally – in Phipps’ words ‘a riposte to the tidy geometries and bland stylings of the Scandinavian-inspired modernists’ who had designed the earlier eastern phase.

Doddington and Rollo Estate (1969-71), Wandsworth

The Aylesbury Estate (1963-71), Southwark

Also in Wandsworth, it’s interesting to see the Doddington and Rollo and York Road Estates covered, built using the Laings Jespersen Large Panel System and generally considered (for good reason given early teething troubles) to be system-built disasters. Other system-built schemes covered include the first system-built housing estate constructed in the country, the Morris Walk Estate built by the London County Council in 1963-1966 using the Larsen-Nielsen system.  The troubled but maligned Aylesbury Estate in Southwark, another built using the Jespersen system and now subject to its own controversial regeneration, is also featured.  No poured, in situ, board-marked concrete here.

Lillington Gardens Estate (1964-72), Westminster

World’s End Estate (1969-77), Kensington and Chelsea

Nor in Westminster, where Darbourne and Darke’s Lillington Gardens was praised by some as an example of the ‘new vernacular’ – a point at which you might feel the definition of Brutalism stretched. Down the river in Chelsea, Eric Lyons’ World’s End Estate is also noted. Since both are concrete-built and only brick-clad and since both that possess the Brutalist ‘clear exhibition of structure’ that Phipps values their inclusion is probably justified.

Anyway, buy the book and make your choices – in inner London in particular, anyone interested in modern architecture will find much to pique their interest.  If you love Brutalism, you’ll love the book.  If you don’t, it might at least give you pause for thought. Brutalism may not have been pretty but it does look increasingly attractive – both as a monument to earlier ideals and as a rebuttal to what Phipps rightly describes as ‘the bright vinyl-clad Wendy houses that count for much of today’s banal and mediocre housing’.

Photography (c) Simon Phipps

Brutal London by Simon Phipps is published by September Publishing, £14.99. http://www.septemberpublishing.org/product/brutal-london/ 

You can follow Simon Phipps on Twitter at @new_brutalism

References

(1) Barnabas Calder, Raw Concrete: The Beauty of Brutalism (2016) – an excellent and engaging academic guide to the subject which I’ve previously reviewed.

(2) Reyner Banhan, ‘The New Brutalism’, Architectural Review December 1955

(3) Of those I’ve written about: Alexandra Road, the Branch Hill Estate and the Whittington Estate.

 

The Pendleton Estate I: ‘A Salford of the Space Age’ or ‘Concrete Wasteland’?

Tags

1960s, 2000s, Regeneration

You’ll find more on the Pendleton Estate at the current exhibition at the People’s History Museum in Manchester which showcases the work and archives of long-term residents John Aitken and Jane Brake of the Institute of Urban Dreaming.

We left the people of Ellor Street last week facing the brave new world of comprehensive redevelopment in the early sixties with mixed feelings.  One reporter noted ‘a sense of uneasiness around…in many cases hidden by a joke or a resolution to face the new life’. (1)  Six years later, the scheme (with its ‘tree-lined open spaces, a community centre and a health centre all segregated from traffic’) well underway, another reporter – or perhaps the same one – described the residents’ embrace of their new surroundings.  He described the new Pendleton as ‘A Salford of the Space Age’.  ‘Small wonder’, he continued: (2)

that many Ellor Street folk have fought shy of moving to overspill areas or other parts of the City, and have waited eagerly for the chance of being rehoused here – if they leave their present homes.

Given the visionary idealism of the Report on the Plan which outlined the principles of the redevelopment scheme and the optimism which surrounded it both in Salford Borough Council and the local press, perhaps these hopes were understandable.

‘View of flexi-maisonette area from service road to the south’ from The Report on the Plan

It’s true that some of the rehoused residents had wanted houses rather than high-rise flats but the amenities of their new homes soon won them over:

We really wanted a house but these new flats are so nice and well-designed that I would not change for a house.  I like the underfloor heating, the nice living room, and bright bedrooms, we used to pay 16 shillings a week rent and now it is 44 shillings and 10 pence and well worth it.

This was the era – a brief one, in fact – in which high-rise took off.  A few years earlier, back in 1956, only 6 per cent of homes nationally had been provided in flats of over five storeys.  Ten years later, as the new Pendleton took shape, that proportion had risen to (and peaked at) 26 per cent.  Avoiding the obloquy that hindsight has visited on such high-rise construction, there seemed, at the time, many compelling reasons for this shift.

Ellor Street and Unwin Street under redevelopment (c) University of Salford and made available under a Creative Commons licence

The mass slum clearances of the period and the apparent requirement to build replacement housing at density in inner-city areas, compounded by new restrictions on greenfield construction and dislike of sprawling suburban estates, provided one causal bundle.  Salford, like many other inner-city authorities, also resented losing population and rateable income to beyond-border overspill.

There were less tangible but equally potent ideological currents too – a new concern for urbanism and a sense that high-rise represented the future, modernity in a new Britain sloughing off the obsolescence which seemingly characterised so much of its housing and townscapes.  The Report on the Plan claimed that the scheme represented ‘an unparalleled opportunity for Salford to think today what other cities would think tomorrow’.  In the end, the judgments of tomorrow would be far less positive but that’s to jump ahead. The Ellor Street redevelopment almost uniquely captures many of the hopes and ambitions of the period.

A contemporary view of John Lester and Eddie Colman Courts (Walter Greenwood Court was demolished in 2001)

The original plans had been devised within Salford, a council, according to Glendinning and Muthesius, ‘dominated by its formidable City Engineer, G Alexander McWilliam, and by its equally entrenched direct labour organisation’.  Three 15-storey slab blocks – Walter Greenwood, Eddie Colman and John Lester Courts, designed in-house – had already been started. (3)

Eight-storey flats at Salford as featured in Trussed Concrete Review, no 10, 1955

These and Salford’s earlier high-rise efforts – such as the Truscon flats in Kersal Moor – were judged drab and uninspiring by the Ministry of Housing and Local Government but it had little local power in this era of jealous municipalism.  Salford, however, wasn’t one of the big beasts of local government and here the Ministry – playing cannily on the Borough’s fears of loss of status – secured some influence.

Salford agreed, at the Ministry’s suggestion, to the appointment of former LCC Chief Architect and Robert Matthew and former LCC Senior Planner Percy Johnson-Marshall as architect-planners for the entire scheme.  The Architectural Research Unit of Edinburgh University, where both were now based, were to be executive architects for significant elements of it. The Ministry, for its part and against the preferences of the Edinburgh team responsible for detailed design, insisted on five 17-storey point blocks and prefabricated construction as central government sought to boost new methods of industrialised building – another contemporary manifestation of self-conscious modernity and seen as a necessary means of completing the rehousing revolution of the time. (4)

Thorn Court and Spruce Court (in the foreground) before refurbishment and Broad Street, the A6

In housing terms and in sheer numbers, this was a success.  Salford completions increased from 30 in 1962 to 1468 in 1966; into the early seventies it built more housing per capita than any other English city, even Birmingham undergoing its own high-rise revolution. (5)  The civic centre – a much vaunted element of the original planning – didn’t materialise and the shopping centre never took off as any kind of regional hub.

Peter Hook, invited to celebrate the demolition of one of the three 14-storey ‘Orchards’ tower blocks in 2013 (c) Manchester Evening News

On this occasion, there don’t seem to have been any particular problems arising from system-building but there were early criticisms of the housing. Peter Hook (‘Hooky’ of Joy Division and New Order) was no fan: (6)

All my friends moved to Ellor Street, which was all high-rise 70’s flats and a new shopping precinct all built out of concrete. It was rotten, horrible; like a concrete wasteland. And that was when it opened.

Nigel Pivaro (back in the day Terry Duckworth in Coronation Street – set in Salford, of course; now a respected journalist) speaks for many in decrying what was lost: (7)

the demise of the traditional street, the corner shop and small local pub…In short, a whole way of life ceased to exist and the way Salfordians interacted with their neighbours and the world around them changed dramatically.

‘Old institutions…were simply never properly replaced,’ he concluded; ‘what has replaced the old order is not only bland and characterless but actually has never been put back at all’.

New blocks  – probably John Lester and Eddie Colman Courts – under construction in the early 1960s. St Paul’s Church in the centre on the new Broadwalk remains a mainstay of the present community (c) University of Salford and made available under a Creative Commons licence

In this, he echoed the bleak reportage of an ITN news story on Salford high-rise, broadcast in 1988: (8)

Society has broken down in some of Salford’s tower blocks. Civic squalor has become a breeding ground for crime. Muggings, burglaries and firebombs are a brutal fact of daily life. Here thousands live in fear of losing their property, even their lives.

One tower block, it was claimed, had suffered twenty arson attacks in a single year.

The former Paddock pub (now a hostel) – one of the very few old buildings retained in the original redevelopment – with the unmodernised Albion Towers to the rear

The judgment between the competing narratives – bright-eyed modernity and its early welcome and the dislocation and loss it is subsequently held to have caused – seems pretty clear but there’s really no simple ‘truth’ here.  There are issues of timing and perspective. There is nostalgia both for the old and the old ‘new’. It seems to me that the romanticisation of the slums should be criticised just as much as we now attack the naivety (or worse) of planners.  And there are unexplored counterfactuals and neglected contexts.  Could slum clearance and redevelopment have been done differently, better? Very likely but we can’t re-write the wider history which has devastated our traditional working-class communities since the 1960s.

In 2007, Pendleton was rated the twelfth most deprived area in the country.  Some 41 per cent of its 18 to 24 year olds lacked any educational qualification (compared to the national average of 29 per cent); 48 per cent of adults were economically active (nationally, the figure stood at 63 per cent). (9)

A contemporary view of Salford Precinct and the Briar Hill Court  block of flats

In 2011, when riots broke out around the Salford Precinct (intended as the great show-piece of the Ellor Street redevelopment), the area was described as the third worst area in the country for child poverty, and the seventh for unemployment.  In the high-end stores of central Manchester, people: (10)

made off with £2,000 guitars, plasma TVs, and designer clothes from Liam Gallagher’s Pretty Green boutique, in the neglected Salford Precinct they were taking tins of food from Lidl and second-hand televisions from Cash Converters.

‘People who have got nothing wanted to show that they have nothing,’ said one of those involved. Behind this lay something both more diffuse – a resentment of local gentrification and the marginalisation it highlighted – and hostility towards the police as its enforcers.  The riots were, according to one study, a ‘response, albeit lacking in a formal political articulation, to perceived injustices that relate to poverty, exclusion and oppressive policing’.  David Cameron and others condemned them as ‘criminality, pure and simple’. (11)

Brydon Court: where the police amassed in a show of force and the riots began

Alice Coleman argued that there was no excuse for such behaviour – after all, there had been no riots in the poverty-stricken interwar period so graphically portrayed by Walter Greenwood in Salford – though Love on the Dole portrays a brutal police attack on a peaceful protest of the unemployed against the new Means Test.  But perhaps people brought up in a post-war period which undertook to despatch such poverty, in an era of rampant consumerism (for some) of which the Salford Precinct had once been both symbol and promise, had higher expectations and a sharper sense of grievance.

At any rate, the time was ripe for new regeneration initiatives.  These, however, would reflect very changed times.  We’ll examine them in next week’s post.

Sources        

(1) Salford City Reporter, 3 April 1959 quoted in Kynaston, Modernity Britain, p289

(2) Salford City Reporter, April 1965, quoted in Tony Flynn, ‘50 years ago: ‘Space-age’ Salford high-rise dream comes true’, 8 April, 2015. The following quotation is drawn from the same source.

(3) Miles Glendinning and Stefan Muthesius, Tower Block – Modern Public Housing in England, Scotland, Wales, and Northern Ireland (1994)

(4) Soledad Garcia Ferrari, Miles Glendinning, Paul Jenkins and Jessica Taylor ‘Putting the User First? A Pioneering Scottish Experiment in architectural research’, Architectural Heritage, Volume 19, Issue 1

(5) Figures from Glendinning and Muthesius, Tower Block and EW Cooney, ‘High Flats in Local Authority Housing in England and Wales since 1945’, in Anthony Sutcliffe, Multi-Storey Living. The British Working-Class Experience (1974)

(6) Quoted in Pendleton Together, An Ideal for Living

(7) Nigel Pivaro, ‘Salford Street Loss’, Salford Star, 14 May 2010

(8) ITN, Salford Flats (1988)

(9) Cited in Luc Vrolijks and Maarten Königs, Urban Futures for Pendleton, linking city branding to urban regeneration, 43rd ISOCARP Congress 2007

(10) Helen Clifton and Eric Allison, ‘Manchester and Salford: a tale of two riots’, The Guardian, 6 December 2011

(11) Bob Jeffery and Waqas Tufail, ‘“The riots were where the police were”: Deconstructing the Pendleton Riot’, Sheffield Hallam University Research Archive

The Ellor Street Redevelopment Area, Salford: ‘No Hanky Park, no more’

Tags

1930s, 1940s, 1950s, 1960s

In early October, I was invited by John Aitken and Jane Brake of the Institute of Urban Dreaming to visit the Pendleton Estate in Salford, one a number of people who have visited.  We were asked to provide a response to the experience and an impression of the estate.  These will feature, along with the archive of documentation accumulated by John and Jane during their long years of residency in the estate, in an exhibition at the People’s History Museum running from 29 October 2016 to 15 January 2017.

The post which follows represents what might be called a prehistory of the estate – looking at the housing it replaced, the ideas behind the huge redevelopment which took place in the sixties, and the questions of community raised by each. 

…streets, mazes, jungles of tiny houses cramped and huddled together, two rooms above and two below; in some cases, only one room alow and aloft; public houses by the score where forgetfulness lurks in a mug; pawnshops by the dozen where you can raise the wind to buy forgetfulness; churches, chapels and unpretentious mission halls where God is praised; nude, black patches of land, “crofts”, as they are called, waterlogged, sterile, bleak and chill.

Walter Greenwood cast an unsparing eye on the Salford he grew up in and knew so well. (1) He was brought up on Ellor Street in Pendleton, the only son of a master hairdresser and educated at the local Langworthy Road Primary School.  His schooling ended aged thirteen; he’d worked outside school hours as a pawnbroker’s clerk twelve months previously and would go on to experience a range of other menial jobs as well as periods of unemployment before writing Love on the Dole, published in 1933.

56 Ellor Street, Greenwood’s birthplace, shown empty and derelict in the 1960s (c) WGC4-4-2, Salford University Library, Archives and Special Collections

The book’s protagonist, Harry Hardcastle, unwisely forsakes his ‘soft’ office job as just such a pawnbroker’s clerk to become as an apprentice at ‘Marlowe’s’, a local engineering works – man’s work to Harry but after seven years, his time served, Harry is laid off just as the men preceding him had been as the Great Depression hit.  The props – a living wage (just) and the dignity of work – which might have made his harsh environs endurable are removed and the squalor of the mean slum terraces and abject lives they spawned exact their toll.

Greenwood wasn’t writing for effect and his novel – working men and women and those without work are its heroes – is a world away from the poverty porn which disfigures contemporary attitudes towards the poor.

Concerned middle-class observers such as the Manchester Social Service Group of the [Christian] Auxiliary Movement echoed his description of local conditions: (2)

Tall factory buildings pollute the air with smoke and block out sunshine and light, so that many householders have to burn gas all day.  Not a single house has a garden and all are grimy with soot.  There is no recreation ground, although small vacant plots, dusty, often littered with refuse, and absolutely devoid of grass, are sometimes used for this purpose.

The corner of Florin Street and Douglas Street in the 1960s (c) WCG4-4-3, Salford University Library, Archives and Special Collections

They surveyed the Chapel Street/Blackfriars Road area of Salford two miles east of Hanky Park (nicknamed after the main local thoroughfare, Hankinson Street) where Greenwood set Love on the Dole.  Of some 500 houses, only four had baths and all, or very nearly all, needless to say, shared (outside) toilets.  On the other hand:

As is found in other poor districts, the shops catering for wants rather than needs are surprisingly numerous. The section first mentioned contains six public houses, five supper bars, and five shops selling sweets and tobacco.

Our modern-day critics might make something of that wasteful spending on fripperies but one senses here something more sympathetic – a realisation that hard lives needed something softer to make them bearable.

The E Griffiths Hughes Chemical Works, the Adelphi Iron Works and environs, Salford, 1934 (c) Historical England EPW045058

Local government provided a more bureaucratic but more statistically telling account of local living conditions thirteen years later.  In the 50,500-odd homes of the County Borough of Salford (it had, of course, its more salubrious middle-class suburbs), over half lacked hot water; almost one in five were judged ‘totally unfit and scheduled for early demolition’, one in ten ‘other unfit homes’ were slated for later demolition.  Of the rest, 24,500 were substandard – too good for demolition but still, nevertheless, falling ‘below reasonably fit standard’.  JE Blease, a Salford sanitary inspector, pointed out that these obsolescent terraces were the late Victorian byelaw housing ‘heralded with pride’ for their sanitary improvements ‘by building surveyors some sixty years ago as an approach to the artisan’s utopia’. (3)

We’ve arrived at 1943 in a world at war – a war which made those redundant working-class male bodies of the thirties valuable once more, either in military service or on the home front in war production.  We can be cynical about a society which places a premium on human lives which it is otherwise busy destroying but there were, during this second world war, other more humane and progressive forces at play.

In this context, the first film version of Love on the Dole in 1941 might initially seem surprising.  What more searing indictment of Britain’s class-ridden and socially unjust society could there be?  For this reason, the censors were initially reluctant to authorise its production (they deemed it ‘a very sordid story in a very sordid surrounding’) and yet the director John Baxter, was, for his part, determined that the film should ‘not be a star-vehicle because it should represent ordinary people’. (4)  (Deborah Kerr who played Harry’s sister, Sally, would make her name later.)

There was a significant shift, however. John Harris notes a ‘doughty, optimistic dialogue that was not in the novel’ and the film (unlike the book) ends on a positive note with the parting words of Harry’s mother:

One day we’ll all be wanted. The men who’ve forgotten how to work, and the young ‘uns who’ve never had a job. There must be no Hanky Park, no more.

Greenwood must surely have approved.  Some of his early mentors had been working-class activists and much of the novel had been written at Ashfield Labour Club in Salford. Greenwood himself was briefly – he wasn’t cut out for active politics himself – a Labour councillor.  In a later interview, he stated his novel’s purpose in showing ‘what life means to a young man living under the shadow of the dole, the tragedy of a lost generation who are denied consummation, in decency, of the natural hopes and desires of youth’.

In this 1941 iteration, Love on the Dole was an emphatic ‘never again’ – both a demand and, implicitly, a promise of a better post-war world.

Again, the rhetoric of local government was drier but its planners believed their craft and vision central to this new world and saw planning, humane and rational, as the very antithesis of the destructive anarchy wrought by the free market.

In February 1942 Salford’s City Engineer, W Albert Walker, emphasised that the ‘central concern’ of town planning was ‘the health, happiness and well-being of the people’. ‘The very starkness in which we have now seen the defects’, he continued, ‘may arouse new interest with a fresh determination that prevailing conditions must be improved’. (5)

The Beveridge Report, a 1943 best-seller

Nationally, the Beveridge Report published ten months after Walker’s Salford speech promised to slay the five ‘Giant Evils’ – Want, Disease, Ignorance, Squalor and Idleness – which so straitened the lives of the Salford working class Greenwood portrayed. The Report sold 630,000 copies.  Many obviously shared Mrs Hardcastle’s hopes for the future.

But if all this was a revolution, it was a very British one.  Beveridge himself emphasised that his great scheme of social security was ‘first and foremost, a plan of insurance – of giving in return for contributions benefits up to subsistence level’ (though, crucially, without the Means Test which scarred the family lives of Greenwood’s protagonists).

In housing (the ‘Squalor’ that Beveridge attacked), there were similarly pragmatic proposals.  Mr Blease suggested that much of the borough’s terraced housing could be reconditioned.  However, his helpful sixteen point checklist of required improvements – covering roofs and guttering, windows and doors and much else beyond the now bare essentials of baths and toilets – suggested the difficulty.  ‘The desired up-grading of substandard houses will not be accomplished by philanthropic enthusiasm on the part of landlords’, he commented mildly; nor could it be funded under existing local government powers.

An illustration of bye-law housing drawn from JE Blease, ‘The Unfit House’.  This area is now the site of Urban Splash’s radical redesign of these traditional terraces.

Labour’s 1949 Housing Act did, in fact, allow local authorities to acquire homes for improvement or conversion with 75 per cent Exchequer grants but this was not yet the approach prioritised by central or local government.

City Engineer Walker spoke to higher ambitions: for ‘large agglomerations…there must be satellite towns. When a central area is re-developed, there must be a reduction in density’.  He was far more sceptical about high-rise construction:

There appears to be no reason or excuse for blocks of flats in the average town of one hundred thousand population or under. There is an attraction about erecting a large block of buildings. They look compact and tidy. The proportion of the site built up may be kept low. But how will they be classed in, say, forty years? In the large urban aggregations to which reference has been made, flats will no doubt find a place, but they are only the next best thing to good houses.

We’ll just let those comments stand.  To many, they might seem an almost uncannily prescient anticipation of a debate that had erupted fiercely in the four decades which Walker prescribed.

At first, Salford followed Walker’s advice with the creation of a large overspill estate in the then Urban District of Worsley some eight miles to the west of Salford’s historic centre.  Inaugurated in 1949, the Salford-Worsley scheme had, by 1959, relocated almost 10,000 (of a projected 17,000) Salfordians.  In the fifties, the Borough proposed moving almost a quarter of its population (40,000 of 178,000) to greenfield sites beyond its borders. (6)

Overspill housing in Little Hulton, part of the Worsley scheme (c) Eccles and District Local History Society, www.hultonhistory.btck.co.uk/Memories/Salfordoverspill

Such a shift was not without problems for those involved.  The new council rents were, on average, three times higher than those paid previously.  Seven in ten of the estate’s workforce commuted – one and half hours there and back – back to Salford for work.  And then, according to the planner JB Cullingworth, there were added expenses caused by a new ‘social necessity to “keep up appearances”’.

Ten per cent of families returned to Salford; in Cullingworth’s survey, three-quarters would have returned if only they ‘could obtain accommodation in Salford which was of “the Worsley standard”’.   There lay the rub, of course:

Over a quarter of the families have moved from shared and overcrowded houses; a further third had previously lived in damp and obsolescent accommodation. Their present living conditions form a most striking and welcome contrast.

So most settled and, in time, a new community would develop. It would, however, be a very different community from that described by Greenwood.  Cullingworth, in a single sentence, captures the shift which some contemporary observers decried: ‘The intimate life of the slums has given way to the more reserved, home-centred life of the typical middle-class suburb’.

Writing of the new out-of-county estates of the London County Council, Peter Willmott and Michael Young lamented the loss of ‘the sociable squash of people and houses, workshops and lorries’ that had made up the old East End and mourned, in particular, the break-up of the matriarchal kinship networks they held to have previously sustained community life. (7)  They’ve been criticised since for a selective use of evidence and a much romanticised view of slum living.

Greenwood is a corrective here and Cullingworth himself offered a far more sardonic take:

Separation from ‘Mum’ has not been the hardship which some sociologists have led us to expect; on the contrary it has often allowed a more harmonious relationship to be established. The possession of a house in which pride can be taken has resulted in a closer and more intimate family life: activities are now centred on the home, the garden and the television set.

Contrary to much conventional wisdom, this was an escape from the pub to be celebrated, not the escape to it required by previously inhospitable home conditions.

The charge – it was usually a lament or criticism – of embourgeoisement (the view that working people were adopting middle-class lifestyles and values) is a more interesting one.   For all the practical difficulties, Cullingworth found that the ‘majority of families were thrilled with their new way of life’.  Perhaps, therefore, we should recast this argument.

A image of the new affluence: the new Salford shopping precinct as imaged in the Report on the Plan

Are we really saying that as soon as the working class achieve decent living standards that they have thereby become middle-class?  Sometimes it seems that way; sometimes it seems that some left-wing commentators would prefer the working class to be ‘poor but happy’ (or even unhappy if that better maintained a purer and more militant proletarian politics).  Let’s just scrap the labels which seem to affix too readily essentialist class attributes to certain modes of living.  Besides the definitive study of the so-called ‘affluent worker’ found that, despite their more ‘privatised’ home life, their working lives remained distinct and harder and their politics largely unaltered. (8)

Still, there was truth in Conservative Prime Minister Harold Macmillan’s statement in 1957 that ‘most of our people have never had it so good’.  This was an era of full employment and rising living standards. It seemed a tectonic shift; Love on the Dole was an historic record, a reminder of a lost world, one not to be repeated.

The new world was represented in the redevelopment of the Ellor Street area first approved by the Municipal Borough in 1960.  In the words of Albert Jones, the chair of the Council’s Planning and Development Committee, ‘we may be thirty years late but we are trying now to obliterate Hanky Park as it was known and propose to make the area something of which we can be proud’. (9)

The bare bones of the plan were to clear 89 acres of land in which, according to Jones, ‘three thousand families lived in slum conditions as bad as any to be found in the country’. (10)  But the form of redevelopment was peculiar to its time.

In March 1961, the Council commissioned Sir Robert Matthew, formerly Chief Architect to the London County Council and now Professor of Architecture at Edinburgh University, to act as consultant.  His plan, prepared in collaboration with architect-planner Percy Johnson-Marshall, director of the University’s Housing Research Unit, envisaged something far more sweeping than the mere replacement of substandard housing.

The project was seen ‘strategically as a vital part of the regeneration of the industrial north of England’; its aim ‘to recreate within the Greater Manchester Region a city centre which will make for a high standard of environment in terms of living, shopping and civic affairs, using the latest techniques of planning and development to fit the new centre for the motor age’. (11)

Matthews continued, in the Report on the Plan which would form the template of the finished project:

The basic idea of the scheme is to provide a beautiful and spacious environment with large and continuous pedestrian space over a large area so that the citizens of the new Salford may drive off efficiently to work or else walk down a new parkway right into one of Europe’s finest shopping centres without having to cross any roads.

Much of the proposal therefore features what was planned as a combined Civic and Shopping Centre – the former containing a new town hall, library, and museum and art gallery as well as what was billed as a ‘contemporary Trafalgar Square’ for the borough; the latter, 400,000 square feet of retail space as well as parking for 2070 cars.  The adjacent A6 was to be brought up to motorway standard to aid traffic flow.

‘View looking eastward along the main pedestrian way’ (Broadwalk from the shopping precinct) as envisaged in The Report on the Plan

Practically, this spoke to Colin Buchanan’s influential report, Traffic in Towns, published in 1963. It was designed to manage the problems caused by increased car ownership and enhance the quality of urban life – there were 10.5 million vehicles registered in Britain at the time but the figure was expected to almost double by the end of the decade.  It was the report’s support for urban motorways, however, which, as implemented, blighted a number of city centres that have secured its hold in the popular imagination.

Ideologically, the plan reflected the sense that a modern and prosperous Britain was emerging, one whose promise extended to a working class, more securely employed and better-off than ever before. In this context, Hanky Park did, indeed, seem a remnant of a benighted past.

A 1961 concept model of the new estate

‘Forward to the City Beautiful!’ proclaimed one Salford newspaper headline of 1961 and the plan was claimed by its boosters as vital to the borough’s renaissance.  One Salford councillor asserted that ‘our future as a city stands or falls by Ellor Street’ – the redevelopment would ‘add 2800 families to our population, revitalise our trade, and give our rateable value its first boost since the war’.

There, of course, was represented another aspect of the scheme’s appeal. Salford, like other similarly placed towns and cities, had turned against the large-scale decanting of its population to distant and beyond-border estates.  The latter had, as we’ve seen, its practical problems for the new suburbanites but there was a fear too that the local authorities themselves were – literally and metaphorically – diminished by the loss of population the policy created.

Aerial view of the Ellor Street Redevelopment Area, c.1964 (c) Salford University Library, Archives and Special Collections

The new housing, therefore, wasn’t – though it is discussed in the concluding section of the Report on the Plan – exactly an afterthought but it was covered rather summarily.  ‘Immediate housing requirements have been met by siting three 15 storey blocks on the north-west corner of the site’, it stated. For the rest, it proposed mainly eight-storey maisonette blocks, some four-storey, eight unit blocks providing family houses and, rather casually, three twenty-two storey point blocks and other 16-storey blocks which would ‘give emphasis and continuity to the visual sequence of the development’.

This was, to say the least, a sharp break from the two-storey terraces which had dominated previously and a clear contrast with the more cautious approach suggested by that wartime generation of planners discussed earlier.  But it reflected the wisdom of the age that assumed high-rise construction offered a quick and easy means to provide both the new housing and urban density required by the new wave of slum clearance.

The Ellor Street redevelopment Stage 8 (c) Glendinning and Muthesius, Tower Block (1984)

By some accounts, the residents of Ellor Street and surrounds, those who would inhabit the brave new world created by the planners and politicians, were less sure of the solutions proposed.  One local journalist observed: (12)

It is a district of people whose roots are firmly embedded in the hard ground, and there is every sign that they are not going to take kindly to the sudden upheaval.  There was a sense of uneasiness around, which is in many cases hidden by a joke or a resolution to face the new life – the sort of resolution one reaches when facing a visit to the dentist to have that worrying tooth removed.

It seems the stoicism deployed to survive the hardships of the thirties was required once more to cope with the benefits bestowed by modern affluence.  We’ll see how all this played out in next week’s post.

Sources

(1) Walter Greenwood, Love on the Dole (1933)

(2) Manchester Social Service Group of the Auxiliary Movement, No. 9 Report on a Survey of Housing Conditions in the Salford Area (Manchester, Sherratt and Hughes, 1930)

(3) JE Blease (Sanitary Inspector, Salford), ‘The Unfit House’, The Journal of the Royal Society for the Promotion of Health, vol. 66, January 1946, pp11-18

(4) The British Board of Film Classification is quoted in John Harris, ‘Rereading: Love on the Dole by Walter Greenwood’, The Guardian, 7 August 2010, and John Baxter in Chris Hopkins, ‘Why Love on the Dole stands the test of time’, 20 January, 2016

(5) W Albert Walker, ‘Post-War Housing Development’, Read at a Sessional Meeting held at Salford on February 14th, 1942; The Journal of the Royal Society for the Promotion of Health, vol 62, April 1942, pp75-84

(6) JB Cullingworth, ‘Overspill in South East Lancashire: The Salford-Worsley Scheme’, The Town Planning Review, vol. 30, no. 3, October, 1959, pp189-206

(7) Peter Willmott and Michael Young, Family and Kinship in East London (Routledge, 2013; first published 1957), p97

(8) John H Goldthorpe, David Lockwood et al., ‘The Affluent Worker and the Thesis of Embourgeoisement: Some Preliminary Research Findings’, Sociology, vol. 1 no. 1, January 1967, pp11-31

(9) Quoted in David Kynaston, Modernity Britain, 1957-62, (Bloomsbury Publishing, 2015), p397

(10) Cllr Albert Jones, Foreword, in Robert Matthew and Percy Johnson-Marshall, Report on the Plan (Edinburgh: Bella Vista, 1963), p1

(11) Matthew and Johnson-Marshall, Report on the Plan p6. The quotation which follows comes from p7.

(12) Salford City Reporter, 3 April 1959 quoted in Kynaston, Modernity Britain, p289