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The Ladybird Book of Postwar Rebuilding

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Since I first wrote about the Ladybird books obsession with modernism (article here) I've become increasingly fascinated by the role they played in fostering a spirit of excitement in Britain's postwar schemes to modernise. Picking up copies in second hand bookshops I've started to see a much more concerted effort to portray a positive image of the rebuilding of Britain in these books than even I'd given them credit for. With their warm and sensible illustrations and no-nonsense prose, Ladybird has an incredible knack of bringing together the historical and the contemporary, the fairy-tale and the starkly realistic, taking the fear out of everything and showing a unified, positive and optimistic vision of life. And so this selection of images portrays a top ten in that mould: The Ladybird Book of Postwar Rebuilding.

1. Prefabs. From the wartime temporary housing programme to the building of the welfare state, prefabrication was a big story in rebuilding. Here's a school from People at Work: The Builder (1965) illustrated by John Berry.

2. This is a classic Ladybird image, marrying pastoral and progress: a coal fired power station. It's from The Public Services: Electricity, artwork by John Berry (1966).

3. Hello 1950s low rise office building! Soon to be dwarfed by high rise 60s office building... Another great image from People at Work: The Builder (1965) illustrated by John Berry.

4. Here's a fearless bit of Brutalism, and a style of high rise flats recognisable from cities all over Britain. The text in this book, Homes (1975) is pretty grim for a Ladybird book (on basement flats: 'they may be dark and damp but people often live in them') but Bernard Robinson's beautiful paintings maintain a standard.
5. The concrete frame! It's Ladybird does Le Corbusier. These books love to show how things are made, and this is amazing. Another classic from People at Work: The Builder (1965) illustrated by John Berry.
6. Here we have a point block, that Swedish design so gleefully adopted by local councils in Britain to meet housing demand. I love the text on this page as much as the illustration, which is about the most joyous representation of council housing you could imagine. This is from The Story of Houses and Homes, artwork by Robert Ayton, 1963.

7. Pylons are always on hand in fiction and photography to represent the march of progress across a landscape, so why not in Ladybird too? This is from The Public Services: Electricity, artwork by John Berry (1966).
8. Here's the man (and in Ladybird's world, despite the amount of women architects there were, this was always going to be a man) drawing up these plans for the modern world. You can tell it's the modern world because of the flat roof. People at Work: The Builder (1965) illustrated by John Berry.

9. And what could be more idyllic than this swanky architect designed house, a cross between Swallows and Amazon and North by Northwest. From The Story of Houses and Homes, artwork by Robert Ayton, 1963.
10. And here we have a nuclear power station! Nuclear physics held no fear for Ladybird, where the atom was our friend. This is from the bafflingly ambitious The Story of Nuclear Power, artwork: Robert Ayton, 1972.


Licking Modernity

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Despite my recent brush with the splendour of the Modern University Buildings stamps, I'm not a stamp collector, but my eldest brother is. He was keen to show me some of his recent finds, and among them were these beauties, an array celebrating postwar modernity, as so many stamps of the 60s do. It was, after all, an era when Tony Benn was in full swing as Postmaster General. But we start back in 1951 with a very special commemorative set.

Festival of Britain: stamp (red) 2½d designed by Edmund Dulac and released May 1951.


Festival of Britain: (blue) 4d featuring Abram Games' festival logo.

Post Office Tower: 3d, released October 8th 1965 and designed by Clive Abbott, printed by Harrison & Sons Ltd. It was the first British stamp to carry the name of the artist and the printer, and letters posted from the Tower were franked 'Posted at the Post Office Tower'.

Jet Engine: 1/6d from the 1967 set British Discovery designed and illustrated by Richard Negus and Philip Sharland, printed by Harrison & Sons Ltd.
Concorde: 4d, to commemorate the first flight of the supersonic passenger jet, and released on March 3rd 1969. Illustrated by Michael Goaman and printed by Harrison & Sons Ltd.


Liverpool Metropolitan Cathedral: 1'6d, May 28th 1969, as part of the set 'British Cathedrals'. Unfortunately I couldn't find out any details of the artist.

Full of lost luggage and lost souls

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Here's a couple of short films about Preston.



The first is 56,000, about Preston Bus Station, by Andrew Wilson and Paul Adams. It's a lovely short film shot (or at east edited) in black and white, with enough pull-focus shots to satisfy the most lens-twiddling of camera addicts. It's a lovely visual record of ths bus station from last autumn, when it was under threat of demolition. Thankfully it has been listed and is safe – for the time being. Which reminds me a quote from Doctor Who.
'Don't you have things you hate?'
'I can't stand burnt toast. I loathe bus stations. Terrible places. Full of lost luggage and lost souls.'
And here, accompanied by the squelchiest and most exhausting of 70s funk soundtracks, is some wonky super-8 footage from 1969 of Preston, from St George's shopping centre to the still-under-construction bus station.


Life and Death

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Taberner House is being demolished.

You might think that Croydon town centre is overrun with landmarks. There are, after all, over forty office blocks jostling for attention. But few of them are instantly recognisable from a distance. There's the spectacular Thrupenny Bit, of course. The rugged Nestle building. The awkward twins Lunar and Apollo House. But Taberner House was always the most handsome, the sharpest suited, the king mod in his tapering Italian styling.

(c) Stephen Richards


Taberner House was the council office from 1968 to 2013. 45 years. Just think of all the admin generated on typewriters and notepads in its nineteen storeys over the years. The memos sent between floors in the internal mail. The filing cabinets heaving with manila folders, dockets and Roneoed forms. Those glass walls would have seen the arrival of the modern office: first the word processors and green-screen computers, the dot matrix printers and fax machines with their fancy thermal paper; devices taken over in their turn by the PC and the laptop, tablet and smart phone. No more telegrams to Whitehall or calls patched through from the mechanical switchboard. Now the windows are being taken out, the building stripped and dismantled floor by floor. Architect H. Thornley will find the monumental building he designed is about to disappear into the murk of history, just as he has.

But for me, there’s a strange personal story here too, a ghost of the official one, a bit-part player's view of the proceedings. Taberner House represents something brief but remarkable in the life of my parents.

My Mum and Dad in the late 70s 

In the 1970s, when I was very small, my mum was depressed. Fiercely clever, Marjorie Grindrod had, like many women of her generation, been greatly disappointed by her life in a suburban council estate, miles from her large extended family. All apart from one of her brothers, Bert, who lived in the maisonette upstairs but never spoke to us. But that's another story. She was looking after us three boys, and my dad was out working all hours for little money as a lorry mechanic. She was also coping with something more debilitating. In the 1960s she'd had a series of operations to remove cycts from her spine. She'd recovered, but the surgery had left her with a pronounced stoop, and she found herself occasionally dependent on a wheelchair.

When things did begin to change for her, at first they got very bad indeed. In 1981 she was afflicted with intense, sudden and unexplained internal bleeding. All of her family came to visit her, and everyone was certain she would die. But she didn't. When she left Mayday Hospital ten weeks later, she instead snapped back into the world more alert, more interested, more impressed with life than she had been in all the years since I had been born. It was incredible to see. She came out of hospital a different woman – a stronger, more determined, more optimistic one.

Physically the illness had left its mark: a lack of physiotherapy while she'd been in the hospital bed for all of those weeks had a terrible effect on her legs. She was never able to walk again. And so she continued her recovery at Waylands, a day centre for people with disabilities. This modest centre in Waddon encouraged people to take up activities such as pottery and painting. I still use the lamp she made, a beautiful tree that sits on my bedside table. But in a matter of weeks she was bored with crafts, and instead found herself teaching other people to type and write letters. It was clear that she'd begun to remember a previous life, one before children, before marriage: the time in the early sixties when she was working as a PA for the director of the department store Arding and Hobbs in Clapham. With all of the skills she was remembering, and her new zest for life, within a year she went from near death to an invaluable volunteer. She took a place on the board of the local Dial-a-Ride, and in no time at all she took over chairing it in her typically no-nonsense way. For the next couple of decades my mum became one of the great and the good, a volunteer who set up a community transport scheme and helped plan the Tramlink.

And she spent a lot of time in Taberner House. Mainly, she would remind me, as a fire hazard. Such were the health and safety procedures and evacuation rules in event of a fire she was, basically, in the way. We were going to make a sticker for her wheelchair that said Fire Hazard, to officially recognise her status. Despite this, meetings were always held high up in the building. Often my dad, John, would go along too as official wheelchair pusher, until she finally relented and got an electric wheelchair. At least twice a month she’d be there, stuck in long meetings, sometimes taking minutes, sometimes chairing them, always looking out at the high rise landscape of Central Croydon from that incredible height. And so her visits to Taberner House began to feel like a symbol of her recovery, not just from the illness, but from the depression that had crushed her in the seventies. It was for her a happy place, and somewhere she'd often come back from with another nugget of absurd overheard conversation. Council employees in the lifts, people who thought they were hidden safely behind partitions, workers striding down corridors, none of them were safe from my mum's radar for stupid remarks.

My dad also had a one of his legendarily great moments in Taberner House. There was a level of expectation wherever my dad went that he would do something so utterly stupid that it would entirely redefine what people thought was possible there. He certainly didn't disappoint. This happened long after he'd given up his job as a lorry mechanic following a heart bypass operation. He'd worked instead at Waylands, the day centre who had rescued my mum, and where he'd instantly become the most loved man in the building. If my mum was cool, ironic and lightning quick, dad was a soppy teddy bear of man, always up for a bit of Norman Wisdom-style physical humour. But by the late nineties, he was ill again. This time it was cancer. He'd recently had to retire from his job, which everyone was very sad about. And so he was still invited to work outings. Waylands staff had their Christmas do at the top of Taberner House. This particular year it was fancy dress. Dad had been all over the place with his illness, and wasn't sure he could make it. On the day he felt well enough to go, though he hadn’t managed to arrange a costume. So imagine his delight on arriving to the top floor of the council's offices to discover an outrageous leopard-print dress just lying around. Perfect. He quickly changed into it, and entered the party in improvised drag. It caused a sensation. This was because it immediately transpired that he was wearing the dress that one of his former colleagues had changed out of only moments before, when she’d got into her costume. She was amazing about it, and told him that he looked much better in it tan she had, and I think he was secretly rather chuffed.

 

Writing about them like this it sounds as if my parents were always full of illness, endlessly in hospital, always about to die of something or other. When they both did actually die, my mum in 1998, my dad in 2000, it was a huge shock. If you get used to people recovering from life-threatening illnesses for your entire life, you no longer fear that they will actually succumb to one some day. Actually, that's bullshit. I was so used to thinking about death all the time back then that I had constant panic attacks and at least once a day used to think I was having a heart attack. Because it has to all be about me. But of course it wasn't. They had real illnesses, ones there was no way back from. And they are long, long gone, which is very odd, because when I think about them, which is all the time, it's as if we had only just finished chatting a moment before.

So when great lumps of the world they moved in are removed, great lumps like Taberner House, it really means nothing in the grand scheme of things. Next to the death of a loved one it is as inconsequential as a sneeze. But even so, it is a strange sensation, seeing that great tower being stripped and broken down. I've tried to talk about my parents and Taberner House in the same breath. It is an absurd notion. All of the modern architecture in the world could be knocked down if it meant that... Yes, well, you get the idea. It is almost impossible to see anything else after staring into the sun like that.

Still, Taberner House is being demolished. The space my mum and dad once occupied, as fire hazard and improvised drag act, will soon be a void in the air a hundred metres above the Croydon flyover. The very fabric they once inhabited has gone. The place occupied by many hundreds of people over those 45 years, with all their memories and routines, has gone. It was just an office block, a piece of clapped out Italian-style modernism from another era. And when it's finally stripped right down to ground level we can all look up and see the ghosts of those filing cabinets and gestetners, plug-boards and wire trays, suspended high in the air above the centre of Croydon, with nothing to support them now but blog posts and elegies.



Drowning in Berlin

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The small brass studs in the pavement weren't obvious, and it was only on our third trip to the high street that we noticed them. Adam and I were staying in a flat in Wedding, north Berlin, a sprawling residential district made up of large five storey blocks dating from the late nineteenth century to the postwar period. The brass studs were clustered around the doorways of a number of the blocks on Ostender Strasse. They listed a few bare details: Here lived, each began, following with name, date and the fate of the person: all the plaques on Ostender Strasse held the details of people transported from Berlin in 1943. the destination for most of them was listed too: Auschwitz. These studs buried in the floor are called stolpersteins. Stumbling blocks. They commemorate victims of the Holocaust. There were two outside one house, three outside another, another two further down. I'd never seen stolpersteins before, never even heard of them. For such modest memorials, their impact is incredible. I've not stopped thinking about them since.

We soon discovered that the stolpersteins were just the beginning of the groundworks we'd find. In the city centre we noticed another memorial buried into the ground. There was a slim line of cobbles crossing roads, pavements and parks. This was the Berlin Wall memorial, tracing the route of the 1961 boundary built between East and West Berlin.



Then there were the actual sections of the wall still standing, some between Checkpoint Charlie and Potsdamer Platz, others forming folk art shrine the East Side Gallery. And then there were many patches of urban wasteland dotted about the city, gaps where bombs had fallen, buildings had collapsed, the rubble and remains quite overgrown. The sheer amount of wilderness in the city centre was startling. In London every inch is being monetised, between factory units, on awkward triangles of lawn, right to the edge of the railway lines. In Berlin space and history rules. And this is despite the almost absurd amount of building work that is going on. We took a Trabant Safari round the city, chasing our guide through traffic in an army-green East German car, the engine screaming away, even at the most modest of speeds. Our Spanish guide was laughing at the sheer number of building sites opening every day. Routes that had been clear the day before were now blocked by cones and diggers. Whole areas of the city centre were blocked off for major construction projects.


One of the strangest of these was on the banks of the Spree, on Museum Island. Once this site had held the Stadtschloss, the City Palace: a vast lump of Prussian baroque. Bomb damage made repair a vastly expensive proposition for the new East German authorities, and instead they demolished it, and replaced it with The Palace of the Peoples, an equally huge modernist structure, opened in 1976. It was the seat of the East German parliament, and also included a huge amount of public space, from restaurants to bowling alleys, a theatre and a disco, rather like the public spaces in the new regional parliaments springing up. It also housed hundreds of modernist chandaliers, lighting the place up like a sun. As conveniently as bomb damage had allowed the Schloss to be demolished by the East Germans, so asbestos allowed the reunified city authorities to gut the communist palace, thus leading to its inevitable demolition a decade ago. And now what is there? Why, it's a replica of the Schloss, of course! Great concrete slabs are being lifted into place to be covered with a baroque facade, while the inside is envisaged as a modern gallery space: the Humboldtforum. It is a project of embarrassing silliness, and does justice to neither the original baroque palace, or the modernist one that had stood in its place. This Matt Frei documentary explores the story rather brilliantly.



Our guide book wasted no opportunity to slag the East German TV Tower as a piece of ugly, kitch rubbish, while also rating it as the highest must-see in the entire book. Denial can be a ridiculous thing. It's clearly amazing, both as a landmark and as a visitor attraction. The view is incredible, the disco-ball stylings of the main pod is peerless, and the silhouette from anywhere in the city is a piece of pure theatre, enhancing any view. Even the base, a mixture of Angry Birds cheeping mouths, b-movie spaceship landing ramps and 1971 Croydon Whitgift Centre baulstrades, is a thing of wonder.


The west's modernist counterpart to the tower, the Palace of the Republics and the wall in the east, is situated in the Tiergarten, at the Hansaplatz station. This is Interbau, housing built for the 1957 international architecture exhibition. Like the Lansbury Estate in East London, built for the Festival of Britain, this was an exhibition designed to be lived in. Here everyone from Walter Gropius to Alvar Aalto had a go at designing state of the art modernist buildings, from point blocks to bungalows, slab blocks to churches. The buildings themselves are beautifully kept. It's hard not to be charmed by the v-shaped legs on Oscar Niemeyer's flats, or the bright panels on the tower block designed by Jo van den Broek and Jacob Bakem. We saw a white wedding proceeding on horeseback to one of the churches, accompanied by the sonorous clanging of bells, and there were wild rabbits hopping about near the nettles that surrounded Alvar Aalto's modernist houses. It's not on the main tourist trail, perhaps, but I'd recommend a visit. It's quiet, there's loads of public seating, you're on the edge of the Tiergarten and the Spree, and the buildings are bloody wonderful.


There's a feeling of trauna to Berlin that resonates everywhere: from the stolpersteins to the ruins of the Wall and the ghostly watch-towers; the stasi museums and the Topography of Terror exhibit; the gap sites and ruins; the new builds and memorials to past tragedies. Reading Hans Fallada's astonishing wartime novel Alone in Berlin in an apartment block similar to the one he bases the main action of the book in, and having just read Eugen Ruge's equally moving story of East German life, In Times of Fading Light, perhaps I just saw what I wanted to see. A panorama of history, trauma and scars everywhere, rather than a beautiful and proud European city getting on with modernising itself after yet another bout of huge social change brought about by reunification. I'd love to spend more time there again in future to try to get my head around it. Not that that is possible, of course. The one thing I was sure of when leaving was that despite an air of calm and space, Berlin is overwhelming because everything feels significant. Even the cobbles beneath your feet are trying to tell you something.

The housing crisis: postwar edition

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With our current housing crisis being so timidly tackled, I thought it might be interesting to look back at some Pathe news clips of how we dealt with previous crises. I hadn't realised quite what gems I would find.

1937: The Great Crusade. 

This is a remarkable full-length documentary, unusual among all the shorts and newsreels. It focusses on slum clearance. It features some astonishing footage filmed inside dilapidated, overcrowded, infested and insanitary London housing. The five year plan to tackle these slums was something the wartime coalition government took on as a national priority for the post-war years. It's a fascinating glimpse into the pre-war world, the modernist flats being planned and the employment opportunities afford by a building boom. The wallpaper factory sequence is particularly amazing, and the national sweep of the film is so impressive.

1946: Nye Bevan Speaks on Housing (3 minutes into this clip).

Here's a very interesting piece in which Labour's much-loved Minister for Health talks about land, local authorities and building homes, and the beginning of a hugely successful postwar transformation in house building in Britain. His charisma and directness seems a world away from the kind of political leadership we are used to today.
1947: Your Chance of a House This Year.

A great piece on housing shortages in Coventry, Wolverhampton and Sheffield, in the immediate aftermath of the war.
 
1951: First Citizens of New Estate ‬

Here's a lovely and significant little film: the first residents moving in the Lansbury Estate in Poplar. This was the Festival of Britain's 'live architecture exhibition', designed by Frederick Gibberd, designed as an example of how people were to be rehoused in the modern world. It's wonderful to see the moment people began moving into this modest landmark.

1968: Millionth House

Here's a short piece of newsreel footage of Scotland's millionth postwar house completion, on the Wyndford Estate in Glasgow. A good reminder of how much effort was going into rehousing people as part of the 'crusade' spoken of in the first film.

Prefab, Post fab, and just fab

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 Every time I've visited Britain's largest remaining assembly of prefabs, the Excalibur Estate in Catford, it rains. I've become used to the sight of them huddled low under black clouds, the great horizontal strips beaten down by the weather. So yesterday, in steamy, swampy summer heat, jumping off the hopper bus I knew things would be different. There would be the bright light bouncing off the little chalets, and perhaps more importantly for me, I wouldn't have the anxiety of trying to find someone to talk to me about their home for the book I was researching. But the most striking image would be that second I turned into Baudwin Road, as it had been every other time. Usually I was struck by the contrast between the sprawling streets of Victorian terraces giving way to the mild no-rise modesty of the 187 Uni-Seco prefabs that form Excalibur. This time the shock was because, as the bus turned that corner, it wasn't prefabs I saw. It was vast stretches of grey-painted demolition barriers, swallowing up the prefabs, gardens, pavements and streetlights. It was eerily silent. A great patch of the estate had disappeared.
 


For many years it has been tough on the (mainly elderly) residents to carry out their normal lives in Excalibur. The threat of demolition, a lack of information from the council, the continuing battle pitting neighbour against neighbour, as much as against council, has given the whole estate a sense of blight, of insecurity. Now, with these huge barriers cutting across paths and streets, it is even harder for the remaining residents to carry out their day-to-day lives in ease and comfort. And earlier this week the first demolitions began. This has been controversial for many reasons, one of which is that the residents allege the demolitions have been badly carried out. The prefabs had been constructed using asbestos cement, and there are many procedures to be adhered to when dealing with demolishing it, including spraying the surfaces with water to minimise the dust, and covering it with plastic to contain it. The residents allege that this has not been happening, and instead the prefabs have been grabbed and dumped into skips, causing clouds of asbestos dust to fly into the air. Here's a video from the residents from this week, with comments from the demolition contractor below. You can make up your own mind.

Regardless of the manner of demolition, the destruction of the Excalibur Estate is one to be mourned. The 187 Uni-Seco prefabs here represent a significant piece of London's working class history. Many of the residents do not want to leave, and as you walk round the estate you can see why. These are little chalet bungalows, each with their own gardens. Most have been customised by the residents: painted, pimped and preened so that tudor-style beams sit next to country cottages, ranches beside modernist villas. With an increasingly elderly and vulnerable population coping with a complete lack of estate maintainence for many years, Excalibur has been easy for the council to divide and conquer. Thanks to English Heritage, six of the 187 prefabs will remain after demolition.



I tried to tell the story of the wartime temporary housing programme in Concretopia. But nothing brings a prefab to life so much as a visit to any of the few remaining clusters around the country. And despite the sadness that hangs over it, there's still something brilliant going on in Excalibur. The urgency of the situation, the eerie feeling of imminent destruction, makes a trip there even more essential for anyone interested in postwar history. It's not just seeing the estate for yourself that is rewarding. It's also the chance to visit to the (appropriately temporary) prefab museum, opened by photographer Elisabeth Blanchett in one of the old chalets.


The museum is only around until Open House Weekend in mid-September, and next weekend (Saturday 19th July at 2.30pm) Elisabeth is running a guided tour of the estate, which promises not to be missed. Although, if you do, she's also running a final tour on the 23rd August. Grab the opportunity, the museum and the prefabs won't be there very long now.

While I was having a poke round the museum several residents popped by and chatted away about their experience of living there, and talked about Margaret ('sod off, unless you're going to make me a cup of tea') who lived in that very prefab, until she had moved out to sheltered housing. This was an incredible bonus and made a visit feel extra-special. It's so lovely that the residents are keen to share their experiences. Sadly many of those experiences are about Lewisham Council's many and varied methods for making their lives a misery. As a resident of Lewisham, I'm gutted by the actions of the council. The whole affair has been badly managed, and the residents have been left feeling helpless and traumatised by the experience. Sure, these were only ever meant to be temporary homes, and they have been there for almost seventy years. They were also notorious nippy in the winter, and some of them had fallen into disrepair. But is the council going to be able to offer the residents anything comparable: a decent-sized detached bungalow with a nice garden at the heart of a genuinely flourishing community? Of course not. That kind of welfare state-era generosity has long gone.


Ranting aside, the museum itself is an intact Uni-Seco prefab, and each room contains artwork curated by Elisabeth Blanchett, including photography, sketches, film and found objects. There are tons of information sheets all over the place, and I was thrilled to see pictures of prefabs from my home town of New Addington, and a history of Shirley, the posh estate near where I grew up. The film, a documentary following the creation of the museum, with interviews from many elderly residents and peeking into their prefabs, is a wonderful record of the estate as it is now. But the thing that struck me most, as it had on every visit to Excalibur, is that here is a community here. People care what happens. And what is happening is being recorded by residents and artists. It made me wish that more places had this kind of spirit, and that it didn't take the threat of demolition to bring it to the attention of the rest of us.



The Prefab Museum is at 17 Meliot Road, Catford, SE6 1RY until 21st September. There are lots of special events scheduled too, more on them here. Entry is free, but they do take donations as it takes £100 per week to keep the museum open.

The Curious Files – my new blog for Faber

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In my working life – the bit that happens during the day rather than the edges that involve writing about concrete modernism and watching old newsreels – I work for publishers Faber and Faber on their non-fiction list. One of the things I've just started is a blog site to gather together loads of interesting articles, podcasts and videos from Faber non-fiction authors. It's called The Curious Files, and so far features pieces by Lucy Worsley, Helen Castor, Nicholas Rankin and Francis Spufford, among many others, and covers history, travel writing and science.

It won't affect Dirty Modern Scoundrel, but every so often there might be a bit of crossover. If you like listening to podcasts or are in need of a bit of inspiration, I hope The Curious Files will be your cup of tea.



Farewell to the Didcot Sisters

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Didcot A Power Station. Photo from https://twitter.com/OGBCollins
Early this morning, three of the most recognisable landmarks in the country were demolished. The three cooling towers of Didcot A Power Station were built in 1968, and the station was designed by Frederick Gibberd, he of Harlow New Town and Liverpool Metropolitan Cathedral fame. They were blown down this morning while most people were asleep. And their demolition will leave a huge hole in the Oxfordshire landscape, where the power station had loomed on the horizon on millions of car and train journeys for almost forty years. The three sisters, those curvy grey fertility statues, have left three siblings behind: the cooling towers of Didcot B Power Station, also due to be decomissioned in the next year. The cooling towers should probably be symbols of our profligate exploitation of our natural resources, pollution and, latterly, corporate greed. These are all fair points, of course. Yet the structures themselves, with their tumbling plumes of white hair drifting across the landscape, have always been striking and beautiful, like primitive pottery scaled to massive size. There is no doubt that they will be missed by all who grew up in their shadows, and everyone who sped through the Oxfordshire countryside by car or train. Farewell, fair sisters.

Living at Thamesmead, 1973

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This is a slightly strange and rather charming semi-fictionalised 1973 promotional film about Thamesmead, the vast modernist new town near Woolwich on the banks of the Thames.

I've already posted a link to Thamesmead 1970, another extraordinary promotional film for the estate. But Living atThamesmead is more than a match for it. Here we explore the town through the eyes of a young couple who flirt their way round the walkways and buildings. It's very much the era of The Liver Birds and Man About the House, but without the grotesque sexual politics that so taint the more swinging sitcoms of that area. I particularly like the section where they explore a newatate still being built, it gives the whole film a kind of pioneering spirit, and it's well handled by the filmmakers, who combine documentary footage with the fictional aspects without making it too wincingly terrible. It's a lovely piece of social history.

Carry On Modernism

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While Britain modernised itself between the fifties and the seventies, our most conspicuous cinematic output was the Carry On series, lasting for 30 films between 1958 and 1978, with one further errant number in the nineties. It was inevitable, I suppose, that the films and their many eccentric, troubled and curious stars would end up straying into the parallel world of world of modernism on a number of occasions. Here's my top five encounters between Carry On and Modernism.

1. Here's Kenneth Williams on Parkinson, alongside John Betjeman and Maggie Smith, sounding off among many things about the Elephant and Castle rebuilding and the scandal of Centre Point, much to Betjeman's delight. Although he soon loses the moral high ground when revealing his thoughts on the world of work.



2. Oh hello! It's Carry On stalwalt Charles Hawtrey in a promo film for prefabs, The Ten Year Plan, from 1945, playing a fearless investigative reporter.



3. Carry On Matron (1972)  was filmed at Heatherwood Hospital in Ascot, Berkshire, a rather typical red brick/prefabricated postwar NHS hospital. Although the photo below is from their studio set.


4. In Carry On Regardless, 1961, Kenneth Connor manages to break The Bed of the Century at the Ideal Home Exhibition, a parody of the Smithsons' House of the Future. Unfortunately I can't find any video of this sequence to embed, though essentially all you need to do is imagine Peter Smithson played in the style of Norman Wisdom.


5. The finest moment in modernism for any of the Carry On stars was Fenella Fielding's casting in Cumbernauld Hit, the extraordinary Italian Job-style action thriller fimed to promote the new town in 1977. A year later the film series went on hiatus, so it seems a good place to end our saucy little tour.

How We Used to Live

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I am a fan of Saint Etienne. I am a postwar history obsessive. I love the Barbican. So the screening of Saint Etienne's archive film How We Used To Live at the Barbican last night was pretty much my idea of a perfect night out.

This archive collage film directed by Paul Kelly was inspired by Terence Davies' hymn to Liverpool, Of Time and the City. But Saint Etienne and Kelly already have their own style – a kind of melancholy nostalgia for the recent past, from defunct musical genres to lost urban landscapes. And here they have pulled together huge amounts of archive film – some of which was familiar to me, much of which was not – and created a compelling, beautiful and moving portrait of postwar London.

With so much diverse footage, there are three principal things that hold the film together. Firstly the clips have been arranged into an overarching thematic story, from daybreak to sunset, work to home, youth subcultures to a running joke at the expense of the Royal Family. Secondly, to emphasise the narrative there is the lightest of narration from Ian McShane, written by Bob Stanley and Travis Elborough – speech that is as impressionistic as the samples from old film and TV that punctuate St Etienne's album So Tough, for example. And finally - and perhaps most impressively - there is Pete Wiggs' score, an epic soundtrack every bit as moving, warm and evocative as the film footage.

They played the score live last night at the Barbican. I have only seen this done twice before. Once was when Saint Etienne performed their soundtrack to their film (again with Paul Kelly) about the Festival of Britain, This Is Tomorrow, at the Festival Hall. The other time was when Philip Glass performed Koyaanisqatsi at the Barbican alongside a screening of the 1982 film. I found that a magical, immersive, emotional experience, and that's how I found How We Used To Live too. If you get a chance to see the film at a screening, go – if you like the old films I post on this blog, you won't regret it. 

Concrete events

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Town centre and carpet mills, Halifax, West Yorkshire ©Edwin Smith / RIBA Library Photographs Collection
So, I have a couple of events in London lined up for autumn 14.

Bookmarks Bookshop, Thursday 16th October, 6.30pm

RIBA, Tuesday November 11th, 6.30pm

The Bookmarks Bookshop event is just me and ten buildings that changed Britain in the postwar period. There will be me talking, followed by chat. I love Bookmarks, it's round the corner from where I work and like a lot of indies they have been massively supportive of Concretopia. It should be a fun event, and I'll try to bring the buildings and their stories to life.

The second event, at The RIBA (always to be said theatrically, like 'The RADA'), is a rather grand affair. I'm one of several speakers, including David Kynaston and Richard Davenport-Hines. I'm a massive fan of both of them. Actually, I'm terrified. Firstly, it's at The RIBA. Secondly, Kynaston's Tales of the New Jerusalem histories are probably my favourite series of history books of all time. And thirdly, Davenport-Hines's An English Affair, about that Profumo crisis moment in British history, is so good it's hard to write a sentence afterwards.

I'm obviously the junior support act. Having lots of moments where I think 'but what if I get into a shouty-type fight with David Kynaston and he punches me up the bracket right there in The RIBA?' I hope they're nice. I hope I'm nice. I hope it's all nice. Nice. The theme of this second event is social and urban change, 1945–65. I have fifteen minutes on architecture, and then it's over to the grown-ups.

So, anyway. If you're free and fancy it, please come to one (or both! imagine that!) of these events. I'm really looking forward to them, in a tingly-scared kinda way. 

South London Hardcore

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I was very lucky to be asked to be a guest on South London Hardcore, the brilliant podcast by Jack Mcinroy and Steve Walsh. As they told me, they used to only cover areas with SE or SW in the postcode, so branching out into my old home of CR0 has been a recent adventure (of sorts). It was a lot of fun to record, and I think that comes across. An they have an amazing archive old old episodes too.

Ernő Goldfinger – audio style

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Here are four beautifully made radio programmes/soundscapes by James Torrance on Ernő Goldfinger. Under the title Homes of Tomorrow, Torrance has organised his thoughts and material on Ernő into four sections: Landscape; Home; Community; Legacy.He's interviewed all sorts of interesting people, from residents through to experts on Goldfinger, his buildings and brutalism.  And it's not just the voices and the points of view that give the pieces such a great range of texture – it's the strange, ghostly treatment of the audio, with the swirling and booming and glowering soundscape sitting behind the voices, giving it such personality.

I've really enjoyed listening to these, and they definitely deserve a wider listenership. Give them a go, go on!



Richard Seifert in the Sixties

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Buildings by Richard Seifert and Partners are surprisingly easy to spot. Especially those designed by George Marsh. There's an avoidance of the right angle to an almost obsessive degree, leading to the bizarre faceted shapes of the individual components, be they the jaunty legs, structural panels or the gable ends. Often it's only the obsessive detailing of the micro-mosaic crawling all over the outer shell that holds to the right angle.


This is fascinating footage taken of his buildings by British Pathe in the sixties. It opens with the long departed Drapers Gardens, their fabulous City tower opened in 1967 and demolished just forty years later to make way for a much lower-rise block. The film moves on to various other buldings, including Centre Point, and drawings and footings for the curved corners of his beautiful International Press Centre, completed in 1972, and now scheduled for demolition, joining other lost Seifert towers such as London Brdge House.

It ends up with another great, and early, Marsh and Seifert building, Tolworth Tower (1964). This rocket-shaped wonder is a huge landmark in Tolworth, West London. Thank goodness this seems to be one example of Marsh's work that is a survivor. Along with the NLA Tower in Croydon and Space House in Holborn, it is one of their greatest buildings, and it's great to see such pristine sixties footage capturing it before the fumes from the Kingston bypass got to it.

The Lansbury Estate, Poplar, in One Wish Too Many

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Here's a Children's Film Foundation film from 1956, called One Wish Too Many. It was filmed in the Lansbury Estate, designed by Frederick Gibberd for the 1951 Festival of Britain.

It's a lovely bit of Eden-era wish fulfilment, somewhere between Ealing's Passport to Pimlico and E. Nesbit's The Enchanted Castle. In it a small boy finds a magic marble, and it grants his wishes. What start as modest requests soon get out of control, and when he wishes for a huge steamroller then the whole of the bombed city is soon under threat. It's got many great shots of poor old corrugated iron postwar London before the building boom took hold, and lots of beautiful footage of Chrisp Street Market, the Lansbury estate and the Festival of Britain legacy. It's silly, sweet and worth a skip through at the very least. Especially if Poplar Harca, the managing agents, get their way and Lansbury is changed beyond all recognition.

The Michael Faraday memorial, by Rodney Gordon

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The Faraday Memorial in Elephant and Castle was designed by Rodney Gordon, more famous for his 'Get Carter' Trinity Square carpark in Gateshead and the Tricorn Centre in Portsmouth, both now pulled down. It sits on what was the larger roundabout of the complicated Elephant and Castle road system, and a young Gordon designed the stainless steel box in 1959 as part of the rebuilding of the blitzed area. The box contains an electricity substation that runs the Bakerloo and Northern tube lines beneath.

Here is a fascinating little video from 2007 of Rodney Gordon attempting to save his memorial from one of the many redevelopment plans for the area.



I lived round the corner for many years, and always enjoyed walking past the suitably futuristic and suprisingly disco memorial, or staring down at it from the bus. I hadn't realised, though, that Faraday was a local boy too, from Newington Butts, although it must have looked rather different back in 1791. But then again, without Faraday and his generation of gifted inventors perhaps the pace of change might have been rather slower, and the area might look rather more familiar to him. Thankfully the memorial is now listed, so at least the ghost of Rodney Gordon might be able to recognise that in hundreds of years, even though the rest of the area is likely to change beyond all recognition, thanks to the rise of the developers.


Killingworth and Cramlington – the almost New Towns

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 Here's an extract from a lovely 1970 film A New Life, made for Northumberland County Council about Cramlington, Northumberland and Killingworth, North Tyneside.



 Killingworth was a locally sponsored new town built next to the collieries, and was, in the 19th century, home to George Stephenson. The sixties new town was famous for some beautiful Ryder and Yates architecture (including their much-loved Gas Research Station), the Garths (numbered cul-de-sacs that make up most of the town) and lots of system-built Skarne housing. It was also home to Whatever Happened to the Likely Lads, where social climber Bob had washed up. This little film, where Ian La Frenais, one of the writers, retraced the locations of the series, is utterly fascinating too.



In A New Life Cramlington is mentioned in the same breath as Killingworth, and even though it ended up a smaller development than they'd originally envisaged, it's still home to 30,000 people. Most of the estates here were built in the seventies, but the original sixties flat-roofed houses were built by private developers John T. Bell (which is now Bellway Homes) and William Leech (which has since been swallowed up by Persimmon).

Thanks to Peter Chadwick for the tip-off about A New Life. Highlight: the narrator's bafflement at the name Lisa.


Maxwell Fry and the Kensal Green flats, 1938

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So this is the worst quality film I've posted on this site, but it's also one of the most interesting. The audio is terribly degraded, but can occasionally be tuned into, and although the visuals are better, the time code and watermark ensure they are tainted throughout. Still, it's a fascinating glimpse into a lost world.

Here's a film which features Maxwell Fry talking in the late thirties about his Kensal Green flats, which he'd designed with, among others, Elizabeth Denby. In it we see the slums of the thirties, the street life in Kensal Green, and then the new flats built to offer people a better way of life. Several residents speak alongside Fry about the conditions old and new, and we also see inside both traditional and modern housing from the period, which at once makes it feel entirely ancient and strikingly familiar. It's introduced by Sir David Milne-Watson, who ran the Gas Lighting and Coke Company and was high up in the Federation of British Industries, and who gives the whole thing the requsite patrician edge.

Here's hoping someone restores this gem before it crumbles away completely.

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