MODERNISM IN METRO-LAND
  • About
  • Metro-Land and Modernism
  • The Buildings
    • North London
    • West London
    • East London
    • South London
    • Counties
  • The Architects
  • Shop
    • The Guide
    • Mini Guides
    • Tube Station Books
    • Modernism Beyond Metroland
  • Blog
  • References & Links

Anatomy of a House No.24: 9 West Heath Road

15/10/2025

0 Comments

 

Anatomy of a House No.24

9 West Heath Road, Hampstead
1964
James Gowan

Picture
On the south west corner of Hampstead Heath, stands a building which at first appears like a small office block, despite its leafy, residential setting. It is in fact a house built for Chaim Schreiber, who had built the Schreiber furniture brand in Britain from 1957. It was designed by architect James Gowan, who had come to fame due to his partnership with James Stirling, who he first worked with at Lyons Israel and Ellis, later going into partnership together. Their short-lived partnership produced some of the most dynamic buildings of the era. Designs such as the Engineering Building at Leicester University and Langham House Close in Ham Common, reacted against cosy, Scandinavian-influenced post war modernism and firmly pushed into the future, and the era of brutalism and High Tech. 
Picture
Sketch of the Leicester Engineering Building
The partnership only lasted from 1959 to 1963, splitting over creative differences, paving the way for bands of the late 1960s and 70s. Gowan's first commission after parting ways with Gowan was the house on West Heath Road. Before working at Lyons, Ellis and Israel, Gowan had worked for the Stevenage Development Corporation, and a former colleague who now worked for Schreiber phoned to ask his advice on a house for his boss. Gowan’s advice was ‘Let me design it’.
The house is formed of two oblong sections connected by a central core, built in dark blue Staffordshire brick, somewhat cooler than the famous red brick of the Leicester Engineering Building. Windows strips run all the way up the four floors of the house, emphasizing the verticality of the design. Schreiber and his wife, Sara, wanted the most important room in the house to be the dining area, able to accommodate up to 20 guests.


Picture
The living area with an example of the co-designed furniture by Gowan and Schreiber.
The dining room and connected living area form the heart of the house on the ground floor. Below on the basement level are the service rooms, with the main bedrooms on the first floor and bedrooms for Schreiber's three children and a studio on the second floor. The rooms on each floor were open plan, with hidden wooden doors used to divide space as needed. The house is arranged north-south, facing north towards Hampstead Heath. Gowan made the rooms extend the full width of the house, allowing the maximum daylight from the south facing aspect, which looks over the gardens. The internal floors were finished in San Stefano marble, with ceilings formed of moulded precast units. Engineering for the house was overseen by Frank Newby, who had worked with Gowan and Stirling on the Leicester Engineering Building.
Picture
The first and second floor plan for the house
Gowan also collaborated with Schreiber to design all the furniture in the house, to make it a totally integrated design. Four types of storage units were developed that could be used in all rooms, depending on need and layout. Various mod cons were included in the house, such as a central vacuum system to keep the house clean and electrically heated external paving stones to melt ice and snow. After completing the main house, Gowan returned three years later to design a domed swimming pool in the grounds of the house. The pool is partially sunken in  a turf mound and topped by a glass dome. The dome is formed by a tubular steel structure with quarter inch thick late glass, attached to a concrete base. The pool itself is finished in white and black Sicilian marble and tilework in red, white and blue, and incorporates two smaller circular rooms containing changing rooms and toilets.  

​
Picture
The dome-roofed swimming pool
Gowan would design another house for Schreiber in the early 1980s, radically different from the Hampstead home. This house, in Chester overlooking the River Dee, was designed in a post-modern style, a form his old partner Jim Stirling had also drifted into. The house in Chester has a large pitched roof that sits over a largely-glazed ground floor, with prominent circular windows. Apparently Schreiber never lived in this house, as he passed away in May 1984.
Picture
The second Schreiber house, in Chester. Image from OfHouses.
Gowan only designed a few private houses during his career, but they are all distinctive.  One of his earliest houses was during his partnership with Stirling, a compact and austere single storey residence on the Isle of Wight from 1957, now unfortunately added with a pitched roof. In 1967, Gowan designed a circular, tower-shaped house for E.W. Parke, Professor of engineering at Leicester University in St. David’s, Wales. The house is built in brick which is rendered white, with a circular staircase tower. Also worth mentioning is the small estate of houses Gowan designed at East Hanningfield in Essex (1975). The scheme, which features houses and flats, is designed in the PoMo style seen with the second Schreiber house, complete with porthole windows and angular profiles. 

​
0 Comments

The Rolls Royce: Serge Chermayeff’s Bentley Wood

5/10/2025

0 Comments

 
Picture
Bentley Wood as seen from the garden side. Image from RIBApix.
Serge Chermayeff designed a number of buildings in Britain, before moving to the United States in 1940. These buildings include private houses in Chelsea, Chalfont St Giles and Rugby, offices in Camden and the De La Warr Pavilion in Bexhill on Sea. Some of these were designed with German architect Erich Mendelsohn, who was also a brief visitor to Britain before moving on to the US himself. The buildings that Chermayeff designed, both by himself and with Mendelsohn, are perfect examples of the 1930s modernist aesthetic; long horizontal lines, gleaming white walls and regular, metal-framed windows all abound.
Picture
The De La Warr Pavilion, Bexhill on Sea. Designed by Serge Chermayeff and Erich Mendelsohn.
However, Chermayeff’s most accomplished design is possibly Bentley Wood, a house he built for himself and his family in Halland, East Sussex in 1938. The house is modernist in form, but uses a gentler array of materials, and is sensitively placed in its rural setting. Instead of the concrete of his earlier designs, Bentley Wood is built with a jarrah wood timber frame, exposed in parts, and clad in Western Red Cedar, with brick infill. The ground floor has floor to ceiling glazing, with sliding glass doors opening out onto the gardens. 
Picture
A sketch for the interior of Bentley Wood by Serge Chermayeff.
The grounds themselves are as much a part of the design as the house. Chermayeff asked landscape designer Christopher Tunnard to oversee the landscaping, and a sculpture by Henry Moore, “Recumbent Figure”, was specially commissioned to stand at an exact spot at the end of the garden terrace (the piece was donated to the Tate gallery in 1939). The interior of the house is semi open plan and has split levels, giving the house a sense of flowing space, with further artworks by John Piper, Ben Nicholson and others, dotted around. 
Picture
Henry Moore's Recumbent Figure, seen in the grounds of Bentley Wood. Image from RIBApix.
As with many modernist houses of the era, especially those in the countryside, its progress was initially blocked by Uckfield Rural District Council. They rejected the first application, feeling the design did not fit its rural setting, despite Chermayeff’s careful consideration of the landscape. The architect appealed, and permission for the house was granted. Bentley Wood was widely praised in the architectural press, being seen as a turn away from rigorous International style modernism, towards a more romantic style, as also seen in Berthold Lubetkin’s use of caryatids at Highpoint II. Architect Charles Reilly likened the house to a Rolls Royce in a review for the Architects Journal and it became a place to visit for architects and students.  
Picture
The interior of the ground floor living area. Image from RIBApix.
Chermayeff only lived in his dream house for a short time, moving to the US after his practice was declared bankrupt. He would go on to practice in America as well as teaching at Yale. Bentley Wood was bought by newspaper editor Sir William Elmsley Carr, who started a process of extension and alteration, which was taken up by subsequent owners. These changes to Chermayeff’s original design meant Bentley Wood was turned down for listing in 2002. However, a later owner carefully removed much of the alteration and returned the house to Chermayeff’s vision, with a Grade II listing awarded in March 2020. 
0 Comments

Power to the People: The Rise of the Electricity Showroom

18/9/2025

0 Comments

 
Picture
Showrooms & Offices, Westminster Electric Supply Co,Victoria Street (1933) Maxwell Fry. Image from RIBApix
In 1925 the London and Home Counties Joint Electricity Authority was formed to oversee the generation and supply of electricity in the capital. The use of electricity in domestic settings had started in the late 19th century, and grown in the first two decades of the 20th. Local power companies were formed and used small power stations to generate electricity for their local area. By 1910, 65 different private companies or local authorities supplied power in London, generated from around 70 small power stations. The new authority aimed to bring this all under one body. This new organisation was made up of 36 members, including the London Power Company, which brought another 10 power companies from west London, and the local authority companies, mainly from the east of the city. 

Although a number had existed before this amalgamation, from 1925 the use of the electricity showroom was expanded across the city, with one found in most high streets, and at other locations. These showrooms sought to promote the use of domestic appliances that used electricity, as well as electric lighting and heating. Early showrooms were fitted into existing shop parades, but as art deco and modernism began to make its mark on the British consciousness, these styles were employed to denote the futuristic application of domestic electricity.
Picture
Strand Building,Clapton (1925) J.A. Bowden
The most renowned architect of the electricity showroom was Maxwell Fry, who designed a number of showrooms in the mid 1930s. Whereas early buildings specifically built to promote and demonstrate the use of electricity, like the Strand Building in Clapton (1925, J.A. Bowden) or Electric House, Bow Road (1925, Harry Heckford), used Classical or Neo-Georgian dressings, Fry’s showrooms utilized lightweight steel, plate glass and vitrolite. His first showroom in Victoria Street featured a streamlined entrance in metal-faced plywood with a neon name sign and was decorated inside with photomurals by designer Hazen Sise. Fry then redesigned a shop for the Chelsea Electricity Supply company in Sloane Street in 1936, adding a neon sign and large windows to the exterior.
Picture
Mortimer Gall Electrical Centre, Cannon Street (1937) Maxwell Fry and Walter Gropius. Image from RIBApix.
Fry designed two more showrooms; the Mortimer Gall Electrical Centre in Cannon Street (1937) and the Regent Street showrooms for the Central London Electricity Company (1938). The Cannon Street showrooms were designed when Fry was still in partnership with Bauhaus founder Walter Gropius, during the German’s brief stay in England. Like the Sloane Street design, it fits new wine into an old bottle, adding a shopfront in curved glass, black vitrolite and glass brick to an existing building. In Regent Street, Fry designed premises with a spectacular interior featuring a spiral metal staircase and a photographic display by Laszlo Moholy-Nagy, which showed the story of electrical production and supply.
Picture
Showrooms, Central London Electricity Company, Regent Street (1938) Maxwell Fry . Image from RIBApix
Elsewhere in the city and its suburbs were a number of other showrooms using art deco and modernism to make the case for the electric age. In the north west suburb of Willesden, the local architects department designed and built Electric House (the name given to many electricity showrooms) in 1937. The three storey building occupied a prominent corner site and featured a rounded staircase tower and finished inside with travertine terrazzo, maple wood flooring and oblong light fittings, Unfortunately the building was demolished in 2014. A little further to the east is Hornsey Town Hall, opened in 1935 and designed by Reginald H. Uren. The town hall is flanked by two sets of showrooms, an electricity one by Uren (1938), and one for gas appliances by Dawe and Carter (1937). Both ranges were built in the same sober brick idiom as the civic buildings, but the gas showrooms feature curved windows and a series of stone reliefs by A.J. Ayres, who also contributed a brick relief to the electric side. The town hall and the two showrooms are all listed by Historic England. 
Picture
Electric House, Willesden (1937) F. Wayman Brown, F. Wilkinson and Percy Johnson-Marshall. Image from RIBApix.
In nearby Wood Green are the showrooms and offices of the North Metropolitan Electric Power Supply Company, from 1930. In profile the building isn't as modernist as those in Willesden or Hornsey with its pitched roof, but it does have some lovely art deco detailing with underground style roundels across the exterior proclaiming ‘lighting’, ‘heating’, ‘cooking’ and ‘power’. In a similar mode are the former Gas Light and Coke showrooms in Edgware, designed by Welch, Cachemaille-Day and Lander in 1937. The showrooms were fitted into an existing Neo-Georgian parade, but the partnership added deco details such as chunky name signs, streamlined lighting and doors with half moon windows. Those moderne details are now gone, and the shop is now a Starbucks. 
Picture
Gas Light & Coke Showrroms, Leytonstone (1937) G.Grey Wornum. Image from RIBApix.
The eastern suburbs largely had their electricity and gas supplied by municipal companies but they also built a large number of showrooms to promote the new power sources. In Leytonstone are the former Gas showrooms at 678 Leytonstone High Road, designed by esteemed architect George Grey Wornum, who fitted out the interior with relief lettering spelling out Gas Light & Coke, now long gone. The Neo-Georgian ground floor of the 1934 library around the corner was home to the electricity showrooms. Electricity offices for East Ham Borough were designed by N.F. Cachemaille-Day who added a frontage in black terrazzo and glass with bronze detailing, now demolished. One former showroom which still exists is that for Ilford, on the junction of the HIgh Road and Clark’s Road. Designed in 1931 by borough architect L.E.J. Reynolds, the building has a nice deco styled corner entrance and windows with metal reliefs on the first floor. 
Picture
Electricity offices for East Ham Borough, by N.F. Cachmaille Day.
Moving around the compass to the south, amidst the high rises of Croydon we find the Electricity showrooms and offices on Wellesley Road by Robert Atkinson, built between 1939-42. Like the Ilford building, it sits on a corner plot, although it is much larger and grander in scale, finished in Portland stone and featuring double height windows along the street level. Just along from this building are the moderne, former Segas Offices (1939-41), designed by William Newton for the Croydon Gas and Coke Company. Both buildings are listed, but the electricity office is in much better shape these days. 
Picture
Segas Offices, Croydon (1939-41) William Newton
Completing our journey in the south western reaches we find a pair of buildings featuring the work of architect J.E. Franck and artist Percy George Bentham. On York Street in Twickenham is the South Eastern Electricity Board Building, designed by Franck with stone relief by Bentham. The building again occupies a prominent corner site and is made more conspicuous by its art deco style clocktower, reminiscent of a bypass factory of the age. The work of the pair can also be found on a much smaller scale on Portsmouth Road in Kingston upon Thames (1935), where we find a substation, compact in size but still featuring the stylized light bulb and lightning bolts above the doorway by Bentham. 

Electricity and gas showrooms continued to be a fixture of the high street after World War II, but the stylized deco details gave way to a more austere modernist palette. Soon even the later buildings disappeared, although some have (just about) survived such as former London Electricity Board showrooms and offices on Cambridge Heath Road (1959) by Watson & Coates. As you can see from this blog the novelty of domestic electricity may have faded but some pieces of the Electric Age still remain. 
0 Comments

Erno in the East End

10/9/2025

0 Comments

 
This week we have published our latest Mini Guide, dedicated to the work of architect Erno Goldfinger, who moved to Britain in 1934 and designed a series of buildings in his precise, austere style until his retirement in the late 1970s. Below is an extract from the guide, which you can purchase HERE.
Picture
The buildings that have come to define Goldfinger as an architect are the two estates he finished his career with, the Brownfield in Poplar and the Cheltenham in North Kensington. The Rowlett Street Scheme as the Poplar project was originally known, had been planned by London County Council from 1963 as an extension of an earlier Poplar Borough estate, with Goldfinger designing the first phase incorporating the Balfron Tower, old people's maisonettes and a shop from February 1963. Like the Trellick tower in the west, Balfron has become an instantly recognizable trademark of Goldfingers design, with its separated service tower connected to the main block by access galleries arranged every three floors, reducing circulation space with no outdoor walkways. A series of thin slit windows run up the facade of the service tower, giving it the air of a defensive rampart. This attitude is reinforced by the rough, bush-hammered finish to the block, which despite its rough looking nature was actually carefully detailed by Goldfinger. The grey cement that comes to the surface when the concrete is setting was removed in the bush hammer process, revealing the colour and texture of the interior aggregate, and providing a more robust surface. The completed tower featured 136 flats plus 10 maisonettes, which were situated on the ground and first floors. 
Picture
The next phase from 1965 saw another block added, Carradale House, an eleven storey building arranged at a right angle to Balfron Tower. Like its sister tower it has a separate service section, but this time Goldfinger placed it between two blocks connected by covered walkways. Internally there is a combination of different sized flats, one bedroom and two bedrooms in size, with the larger ones having dual aspect. The third phase from 1967 saw the building of Glenkerry House, as well as low rise blocks along Burcham Street and a community centre. Glenkerry House is 14 storeys tall, containing 75 flats and four maisonettes, with the same three floors to one corridor, as the previous blocks on the scheme. The block forms a shortened U-plan, with a prominent projecting boiler house at the northern end. Once again aggregate and bush hammered concrete is used to form the building, with Goldfinger also using curved precast units for the balconies, and buff brick, to slightly broaden the platte established with the first two blocks. The estate was finally completed in 1975, with some planned additions, such as a car park, left unbuilt, but with other community facilities like a nursery, shop and playground included. 
Picture
Goldfinger and his wife moved into Flat 130 of the Balfron for two months after the tower was completed in February 1968, speaking to residents and making a number of revisions to improve the flats. The three towers were listed between 1996 and 2000, sparing them the demolition that would be visited on their near neighbour and contemporary, Robin Hood Gardens by Alison and Peter Smithson. In 2011, the housing association entrusted with the estate began the process of refurbishment, which required all residents to vacate whilst the work was undertaken. This caused a two-fold controversy; firstly the refurbishment replaced Goldfinger's original window design, double glazed with wooden frames and manufactured by Pilkingtons, for ones which were different in finish, colour and design. Secondly, the residents were decanted with no promise of being able to return to their flats, and eventually all of the flats were sold off on the private market, denuding the estate of its original purpose, something which Goldfinger strongly believed in
Images and text from our Erno Goldfinger Mini Guide
Available HERE

0 Comments

A Ruckus in Ruislip: The Parkwood Estate

25/8/2025

1 Comment

 
Picture
Some publicity materials produced for the Parkwood Estate. Image from Paul Mellon Centre.
The mid 1930s saw the leafy streets of Ruislip become the centre of a clash between tradition and modernity, as Ruislip Northwood Urban District Council battled against a development by Walter Taylor Builders and the partnership of ​Connell Ward and Lucas. Walter Taylor had built three houses designed by the practice before they decided to team up and build a speculative project together. A piece of land for sale in Ruislip, belonging to Kings College Cambridge, (originally bequeathed to them by Henry VIII) was identified, and the architect met with the bursar of the college, who happened to the economist John Maynard Keynes, and a deal was agreed. This first parcel of land was large enough for six houses, with the idea that if they sold successfully more land would be purchased to extend the development.
Picture
97-101 Park Avenue. Image from RIBApix.
The architects Amyas Connell and Basil Ward, (Colin Lucas would join the partnership in 1934), produced a design straight out of the European modernist tradition, influenced by Le Corbusier and Walter Gropius. They initially planned to build three semi detached houses, which would be arranged in C-plans, with the projecting parts to include the garage and entrance, with the living space centered along a three storey range. The houses would be constructed of reinforced concrete and finished in white render, emphasizing the stark right angles of its design. The end of the ranges would contain a glazed staircase, a feature that would project openness and cleanliness, a central tenet of the modernist project. 
Picture
The floor plans for the ground and first floors of the semi detached houses. Image from conway.
Plans were submitted to the authorities in September 1933, and the scheme was turned down, with the council citing the breaking of various byelaws, statues and regulations. The case was referred to a local advisory panel of the Royal Institute of British Architects, which upheld the council's decision, mentioning in their report the use of concrete, which they considered “cold, noisy..” and the extensive use of glass in the staircase sections. The builders decided to appeal both of these decisions and the case went to arbitration. Various witnesses were called, with the scheme getting support from Kings College and architecture critic P. Morton Shand. One of the members of the RIBA panel expanded on their opinion stating that the extensive glass used could cause the public to see the occupiers in their pajamas! 
Picture
The suggested amendemants to the design for 97-99 Park Avenue, with the glazing reduced. Image from Conway.
Of course Amyas Connell was no stranger to this kind of conflict between the planning authorities and those looking to build modernist homes. He had designed High and Over in Amersham for Prof. Bernard Ashmole in 1929, which the local council had only passed the design with “the greatest reluctance", having been unable to find a legal reason to turn it down. The Ruislip appeal was granted, with the council directed to give the architects a list of alterations to consider. These changes included reducing the amount of glazing and adding decorative elements to soften the hard modernist edge, making it more like the other speculative moderne houses found in the area, such as this along Norwich Road and Northwood Way.
Picture
High and Over, Amersham designed by Amyas Connell. Image from RIBApix.
The architects did reduce the amount of glazing, but did not add any other elements and their new designs were passed in August 1934. Construction began shortly afterwards on the first semi detached pair and another set of plans were submitted in September for another pair. However due to the various delays, the clamour in the housing market for modernist designs had cooled, with hundreds of speculative Sun Trap houses having been built in the meantime around suburban London. This design, pioneered by the altogether more pragmatic firm of Welch, Cachemaille-Day and Lander, mixed traditional and modern elements to create a more palatable form of modernity for the British house buyer. This lack of interest meant the projected Parkwood Estate, petered out with just three houses built, with the second semi detached pair abandoned with only one house completed. 
Picture
97 Park Avenue in the 1970s, with its blue painted window frames. Image from RIBApix,
The builders, Walter Taylor, had prepared a brochure to sell the anticipated development, with heavy emphasis on its modern features. It mentioned the "maximum light and air” that the houses would admit, and that their concrete construction would offer “warm, quiet, damp -free rooms”, a rejoinder to the council's opinion on the material. The brochure also called the area's existing housing stock, largely built up over the past 30 years, “imitative, conventional, bad copies of bygone styles..” Despite this rousing call to modernity, the shock of the new was obviously too shocking and Kings College ended buying back some of the land it had sold the builders for the development. ​
Picture
66 Frognal, Hampstead. Image from RIBApix.
Connell, Ward and Lucas continued designing houses until the outbreak of World War II, with another prominent planning dispute of the building of a house for Geoffrey Walford at Frognal in Hampstead, which Reginald Blomfield, called "one of the greatest acts of vandalism ever perpetrated in London". The house was eventually built in 1938, but Walford only lived there for a couple of years. The partnership broke up after the outbreak of World War II, and went their separate ways.The ensuing 90 years has seen the Ruislip houses taken somewhat into the heart of the local population, with them nicknamed variously “the glass houses”, “Casa Blanca” and even “Blue Peter”, (due to their previously blue painted window frames). The houses did sustain some damage during World War II from a nearby bomb hit, but were repaired. In 1989 they were awarded listed status by English Heritage, and well cared for by their current inhabitants, true examples of modernism in metro-land.
1 Comment

Anatomy of a House No.23: 63 Harley Street

31/7/2025

1 Comment

 

Anatomy of a House No.23

63 Harley Street
1934
Wimperis, Simpson & Guthrie

Picture
63 Harley Street
Harley Street in Marylebone is readily associated with the medical profession, an area where private doctors treat well-heeled patients in luxurious surroundings. The next house in our Anatomy of a House series sits in the middle of this street and lives up to its medical heritage. No.63 was built as the home of ophthalmologist Sir Stewart Duke-Elder and his wife, Lady Phyllis. Duke-Elder was the most prominent British ophthalmologist of the first half of the 20th century, researching eye conditions and writing a string of text books, later becoming Surgeon-Oculist to Edward VIII, King George VI and Queen Elizabeth II. 
Picture
Sir Stewart Duke-Elder, portrait by Ruskin Spear (1956). Image from Eye News.
He and his wife commissioned a new house not long after Stewart was knighted in 1934, to include a home and consulting rooms for both Sir Stewart and Lady Phyllis, who was an ophthalmologist herself. It was designed by the esteemed partnership of Edmund Wimperis, William B. Simpson and Leonard R. Guthrie. The partnership was formed in 1913 by Wimperis and Simpson, with Guthrie joining in 1925. The trio had previously designed the rebuilt Fortnum and Mason department store in Piccadilly (1926), Grosvenor House in Park Lane (1926) and the Cambridge Theatre in Seven Dials (1930), as well as a number of other residences in Westminster. 
Picture
Grosvenor House, Park Lane (1926). Image from RIBApix.
The new home replaced a Georgian terraced house, with a four storey structure, as well as a basement and attic area. Built with a steel frame and brick, the street facing facade is finished in ashlar stone and has a pitched slate roof. The exterior balances the traditional Georgian style of the existing neighbourhood with the modernity of art deco, which was gaining gradual acceptance in Britain. The form, with its height and sets of three windows match the other residences in the street. However the finish, in austere grey stone, and lacking much in the way of detail, save the wrought iron balconies, speak to contemporary styles. 
Picture
Duke-Elder's consulting room. Image from Dezeen.
The real interest of the house lies in its interiors, remarkably still largely intact today. The ground floor had a consulting room, waiting room and secretary's office for Duke-Elder's practice. The consulting room has a wall that curves around Duke-Elder’s kidney-shaped desk, lit from above by a circular light well. The consulting room is panelled in Australian walnut and has a marble fireplace, with built in bookcases and a curved window seat. The light fittings in the surgeon's work area were designed by Ralph Waldo Maitland to simulate natural lighting. Maitland also designed the lighting system at the nearby Royal Institute of Architects Building, completed at the same time at 63 Harley Street.
Picture
The ground floor staircase and wood panelling by Betty Joel. Image from UCL.
The entrance hallway on the ground floor is paneled in sycamore with walnut doors and skirting, and also features fittings by designer Betty Joel, whose art deco designs were a part of buildings like the Daily Express offices in Fleet Street and St Olaf’s House in Tooley Street. At the Harley Street house, Joel designed umbrella stands, desks, filing cabinets, bookcases and her signature “ships-grille” radiator covers. The hallway also featured a circular rug, designed by textile designer Marion Dorn. Visitors are spirited to the first floor by an elliptically-shaped, streamlined staircase, complete with brass handrails and balustrade. On this floor was the consulting room of Lady Phyllis, a library and a dining room. The library has built-in bookshelves, desks, window seats and fireside seats. On the second floor is the couples bedroom, dressing rooms, bathrooms and a breakfast room. 
Picture
The waiting room area with rug by Marion Dorn.

The house was profiled in a March 1934 edition of Architecture and Building News under the title “The New Town House” and also described as "the modern manner at its best”, with photos of its luxurious interior and decorations. Duke-Elder worked at No.63 until 1963, when it was sold to ophthalmologist Sir Allen Goldsmith, with Duke Elder continuing to practice from there until 1976, two years before he passed away. The house itself was listed in October 2009, and in 2015 was restored and converted into a purely residential building by Mackenzie Wheeler Architects. 
1 Comment

Flying High: Hendon Between the Wars

9/7/2025

0 Comments

 
Picture
Poster advertising the RAF Aerial Pageant at Hendon. Image from London Transport Museum.
Last year we wrote a blog about Edgware, and how the opening of the 1924 Northern Line station changed the area from a village into a suburb of London. Now we will move a couple of stops down the underground extension to Hendon, to see how the opening of  Hendon Central in 1923 transformed the area in the years leading up to World War II, and saw modernism arrive on the outskirts of the capital. Hendon was a parish in the county of Middlesex, and steadily grew in the first decade of the 20th century, with a population of 56,013 in 1921. At this time the area became a hotbed for the nascent aviation industry, with Everett, Edgecumbe and Co building small planes at their works and aviation pioneer Claude Grahame-White establishing an aerodrome in 1908, both in Colindale.
Picture
Hendon Central tube station shortly after opening, before the flats and shopping parade was built. Image from London Transport Museum.
Hendon Central was built as part of the extension of the Charing Cross, Euston and Hampstead Railway, later to be known as the Northern Line, as it extended into the growing suburbs. The station opened for service on 19th November 1923, serving as the terminus until the line was extended to Edgware the following year. The station and its parade of shops were designed by Stanley Heaps, chief architect to the Underground Electric Railways Company of London, owner of the new line, in a thoroughly Neo-Georgian manner, a far cry from the continental modernism that Charles Holden was to introduce at the other end of the line. The entrance has a grand portico with a colonnade of Doric columns, with the interior finished with wooden doors, white, black and green tiling and a chequerboard floor. ​
Picture
Hendon Odeon Cinema, now demolished. Image from Cinema Treasures.
Opposite the station, as part of another shopping parade, a symbol of the new style appearing in Britain from the continent and America appeared in 1932. This was the Ambassador Cinema, one of many art deco screens built all around the suburbs between the wars. It was designed by G.E MacLeavy of Henry F. Webb & Ash, with a curved entrance in white render and glass, with flanking buildings in more sober red brick and a pantiled auditorium, a typical mish mash of styles, both contemporary and historical, found in the suburban scene of the 1930s. Of course just one cinema was not enough for most suburban centres in the interwar years, and an Odeon opened on Church Road in 1939, the last in the country to do so before World War II broke out. Here modernity was more pronounced, with a curved brick entrance and rectangular tower, designed by Robert Bullivant of the Harry Weedon firm. Whereas the Ambassador still sits opposite the station, now as a health centre, the Odeon was demolished in 1981. 
Picture
Hendon United Synagogue, designed by Cecil J Eprile.
Not far from the station is the Hendon United Synagogue, which despite its religious purpose, displays some of the same art deco design as the aforementioned cinemas. It was opened in 1935, designed by architect Cecil J. Eprile, who produced a number of synagogues in the suburbs, as well as designing buildings for the Times Furnishing Company. The Hendon synagogue has a symmetrical frontage in brick, with decorative metal framed windows and stained glass windows reused from Cricklewood synagogue. Another religious building reflecting the design of its times, is Hendon Methodist Church in The Burroughs (1937), a more expressionist-influenced building, designed by Herbert Welch and Feix Lander. It has intricate brickwork around the entrance and stained glass by Christopher Webb inside. Twenty years earlier Welch had also designed Hendon Fire Station (1913) in an Arts and Crafts fashion, in keeping with neighbouring Urban Council Offices of 1900. 
Picture
Detached house on Ashley Lane, designed by Welch, Cachemaille-Day and Lander. Image from RIBApix.
Welch would also be involved in the area's biggest collection of modernist architecture, the houses for Haymills builders along Ashley Lane and Sherwood Road, built part of the Hancock estate on part of the grounds of Hendon Hall from 1933. The houses are similar to those that Welch, with partners Felix Lander and N.F. Cachemaille-Day, designed for Haymills at Hanger Hill and Wembley, two storey homes in brick with flat roofs and tiled parapets, modern but not overtly modernist. Many of these houses have now been extended with added floors, doric columns or white render added. The most spectacular house they designed in this area was across the other side of the Great North Way, but still on Ashley Lane. No,54 or Everest as it was called, was a grand art deco style house, built for Mr & Mrs Leslie MacMichael, with a central staircase tower and roof deck with metal railings, giving it the air of an airport control tower. Unfortunately the house was demolished and replaced by what is now Woodtree Close. Another modernist loss was 11 Talbot Crescent, a stern looking flat roofed house in brick by Harold Alexander, demolished in the 1990s. 
Picture
Everest, Ashley Lane, designed by Welch, Cachemaille-Day and Lander. Image from RIBApix.
Back down the other end of Ashley Lane, at No.5, is a lovely deco style house with a green pan tiled roof, white rendered walls and recessed entrance, designed by Bernard Engle, just before World War II. The most spectacular house in the area can be found two streets over in Downage, appropriately called the White House, one of architect Evelyn Simmons’ Sunway type house designs for the 1934 Ideal Home Exhibition. The house was designed to be built in any location, but its square staircase tower, bright white render and curved bays did not find favour with the buying public and only a handful were ever built. As well as houses, a number of apartment blocks were built such as Burnham Court in Brent Street, Quadrant Close in The Burroughs and Hendon Park Mansions in Queens Road, none with any great modernist conviction, but with enough moderne features to attract younger buyers looking for a new life in the suburbs.
Picture
Proposed Aerodrome and Landing Strip, Hendon (1930) by Marshall, Tweedy, Bernard and Partners. Image from RIBApix.
Also worth mentioning is Hendon Greyhound Stadium, opened in 1935 with its art deco style square entrance tower which was lit up at night. The stadium operated up until 1972, when it closed and demolished to make way for what would become Brent Cross shopping centre. One building that didn't appear but is worth placing here, is a proposal for an extended aerodrome from 1930 by Marshall, Tweedy, Bernard and Partners. Judging by the drawing, the aerodrome building would have been a couple of miles long, with the landing strip situated on the roof and the terminal buildings integrated into the structure.  

​By the outbreak of world war II in 1939, Hendon had gone through some profound changes. Its population had tripled, it had become an Urban District in 1932, and along with the arrival of the underground in 1923, the area had also hemmed in by the opening of various arterial roads. As we have seen, modernism had also arrived in this suburb, not through the provision of the state or dogmatic architects but via the speculative builder, cinema chains and religious organisations. In the post war era more modernist buildings would arrive, some courtesy of the local authority, such as new housing estates, and some by more commercial interests like the speculative Hendon Hall Court apartments by the Owen Luder Partnership (1966) and the brutalist Car Showroom on the M1. But the years between the wars was the period when Hendon grew into itself, and became a modernist suburb.


If you like this, you can buy me a Coffee here!
0 Comments

One of the Fallen: Valentine Harding 1905-40

18/6/2025

0 Comments

 
Picture
Six Pillars, Dulwich. Image from Conway Collection.
Many of the younger generation of British architects of the 1930s found themselves swapping the drawing board for the battlefield after war broke out in 1939. Some used their expertise to build structures that would enable the Allies to free Europe, Denys Lasdun for instance served in the Royal Engineers overseeing the construction of airfields. Others were directly involved in combat, James Stirling served in both the Black Watch and the Paratroop Regiment, twice being wounded. Of course some never made it back home. The Royal Institute of British Architects building in Portland Place has a memorial inscribed with the names of those who lost their lives in World War II, and among them is Valentine Harding, designer of a series of innovative modernist houses in the 1930s, but who was killed in 1940 on the retreat to Dunkirk.
Harding was born in Kensington on June 22nd 1905. After attending the public schools of Rugby and Oxford, he studied at the Architectural Association, graduating in 1931. A year later he was recruited by Berthold Lubetkin for his Tecton practice, alongside other young architects like Godfrey Samuel, Anthony Chitty and Francis Skinner. With Lubetkin’s oversight and the young architect's energy, Tecton designed some of the the first and most famous modernist buildings in Britain, including the Gorilla House and Penguin Pool at London Zoo and the Highpoint flats in Highgate, both projects Harding worked on. 
Picture
Egypt End, Farnham Common. Image from RIBApix.
Harding also designed two houses while a member of Tecton, Six Pillars in Dulwich and Egypt End in Farnham Common (both 1935). Harding designed the latter house in Buckinghamshire for himself and his family, set among trees and constructed of reinforced concrete with an almost blank front facade. The house was L-shaped in plan and arranged to receive maximum sunlight throughout the day, with sun terraces on the first and ground floors, connected by a metal spiral staircase. Black and white photos of the house from the 1930s show a stark white box, but in fact the exterior was finished in a combination of white, cream, blue and brown paint. Harding would later design a timber-clad brick lodge for his father that sat next door. Both buildings have since been altered. 
Picture
Cross section of Six Pillars, Dulwich.
The house at Dulwich was built for the headmaster of Dulwich College Preparatory School, Rev John H. Leakey, from whom Harding had got the commission. The ultra-modernist design was initially resisted by the landowners, the Dulwich Estate, before being grudgingly approved on Crescent Wood Road, on the edge of the estate. The house is named after the six cylindrical piers which support the overhanging first floor, one of many Corbusian elements included by Harding in the design. Seen from the road, the house almost appears as two structures, with the white rendered concrete form wrapping around a brick subsection which rises to form a cylindrical stair tower, glimpsed through a gap in the upper terrace. The interior was planned with two seperate bedrooms for Leaky and his wife, and the finish was kept minimal with a two storey window letting in light from the south-facing garden.
Picture
By-the-Links, Sundridge Park, Bromley. Image from RIBApix.
The members of Tecton came and went, with architects joining, like Denys Lasdun and Carl Ludwig Franck, and others leaving, as Harding and Godfrey Samuel did in 1935, setting up as a partnership. They duo designed a handful of houses and other projects before their work was interrupted by the outbreak of war. As with many two person partnerships, one focused on design work, in this case Harding, whilst the other sought commissions and dealt with clients, as Samuel did here. Their first design was for a house at Sundridge Park near Bromley for Mr R.M. Thomas, on Lodge Road, a private, unpaved street next to a large golf course. Like Six Pillars, By-the-Links (1935) was heavily influenced by Le Corbusier’s house designs and features a long strip window at the front and floor to ceiling glazing at the rear, along with a slightly recessed ground floor with the first floor supported by columns, this time thin metal piloti. ​
Picture
The rear elevation of New House, Hampstead. Image from RIBApix.
The partnership also designed New House in Arkwright Road, Hampstead (1938) for Cecil Walton, another headmaster, this time of University College School. Unlike their previous designs, both with Tecton and in Bromley, New House is not built in reinforced concrete but brick, albeit around a concrete frame. The house does feature a recessed section at the front, with a wall of glass bricks and a pill-shaped cut out at one end. The rear is three storeys, and has an array of different glazing, with sliding glass doors opening onto the garden, a recessed first floor terrace with floor to ceiling windows and horizontal strip windows on the top floor. The first floor living area behind the glass wall, featured a fireplace in flint and space for a piano.
Picture
Sketch of Overshot, Oxford. Image from RIBApix.
Despite the hard edged modernity of much of their work, the partnership also designed some houses that looked past the right angle to something more traditional. Overshot on Hinksey Hill on the outskirts of Oxford was built in 1937 for Sir Ellis Waterhouse, art historian and one of the Monuments Men, intelligence officers in World War II, tasked with saving priceless artworks for the Nazis (alongside architect J.E Dixon-Spain, who you can read about here)
The house is modern in form, but uses traditional materials and features a pitched roof, allowing it to blend into its rural location. It is laid out in an L-shape plan, with an attached double garage. The house is constructed of light red brick with cedar weatherboarding along the garden elevation, and has an overhanging copper roof. The entrance, placed on the long facade, has a large window made of square panes of glass, illuminating the long entrance hallway. The interior is fitted out with oak flooring, cupboards and shelving. 
Picture
The Sheiling, Jordans, Bucks. Image from Conway Collection.
Samuel and Harding also collaborated with housing consultant Elizabeth Denby on building  The Sheiling in Jordans, Buckinghamshire (1939). The house is the only built example of Denby’s All Europe House, a design she developed to be built in mixed height developments and arranged in staggered terraces in urban locations. Although this type of design was built widely in the postwar years, it was not taken up in the 1930s and the only built had a pitched roof and timber cladding. Samuel also assisted Elizabeth Benjamin in designing the modernist East Wall house in Gerrards Cross, Buckinghamshire, very much in the white-walled idiom of their Tecton houses. 
Picture
Vega vegetarian restaurant, Panton Street. Image from RIBApix.
Aside from the houses mentioned, Samuel and Harding designed a carpet factory in Rotherham (1940), the Vega vegetarian restaurant in Panton Street (1937) and two projects for Dulwich Preparatory; a nursery building (1937) and an evacuation camp in Kent (1938). Harding was killed around 27th May 1940, (some accounts differ), at the age of 34 as the British Expeditionary Force retreated to Dunkirk. In its obituary for Harding, the Architects Journal called him “one of the most important of younger British architects” and that his death was “a great loss to modern architecture in this country”
If you like this, you may want to Buy me A Coffee!
0 Comments

The Bauhaus Comes to Britain: Walter Gropius’s short stay in England

14/5/2025

0 Comments

 
Picture
66 Old Church Street, Chelsea. Image from RIBApix.
​Walter Gropius and his wife Ise arrived in Britain in October 1934, having fled Germany via Rome as the Nazi’s rise to power made his stay in his homeland impossible. Since 1919 he had been the master of the Bauhaus design school, an institution that aimed to unify artistic expression alongside 20th century functionalism and mass production, with artists such as Paul Klee, Laszlo Mohloy-Nagy and Wassily Kandinsky. Gropius was also an architect in his own right, designing early modernist buildings such as the Fagus factory in 1911 and the new school building for the Bauhaus when it relocated to Dessau in 1925. He had gone into private practice in 1928 but received little in the way of commissions as he was seen as a ‘degenerate’ designer. The British architect Maxwell Fry, who had befriended Gropius on an earlier trip to Britain, arranged for Gropius to visit a conference in Italy and escape to Britain.
Picture
Student Flats, Bauhaus, Dessau (1924) by Walter Gropius. Image from RIBApix.
Walter and Ise were lent a flat at the recently completed Isokon Building by Jack Pritchard, who with his wife Molly had commissioned the building from Wells Coates, and the Pritchard’s were interested in working with Gropius. He then joined Fry in partnership, a move that was replicated with other emigre architects joining a British cohort, see also Serge Chermayeff and Erich Mendelsohn. The two architects tended to design their subsequent projects individually, with the other partner used as a sounding board, although all projects during the 2 and a half years of Gropius' stay were credited to Fry & Gropius. Gropius' short stay and the relatively conservative nature of British architecture meant that the German architect only completed a few schemes during his time in London. 
Picture
The Wood House, Shipbourne, Kent (1937). Image from RIBApix.
Two of these completed projects would be private houses; 66 Old Street in Chelsea (1935) for MP and writer Benn Levy, and The Wood House in Shipbourne, Kent (1937) for Jack Donaldson (who would also later become an MP). The house in Chelsea was a fairly straightforward International Style modernist design, with a three storey house constructed of brick around a steel frame faced with white render. Viewed from the street the house looks fairly small, but it was designed to accommodate Levy and his wife actress Constance Cummings, their three children, a butler and two maids, all fitted in with careful planning. Unfortunately since the late 1940s the house has undergone successive transformations, first split into two homes then covered in tile hanging. The house in Kent is more intriguing, constructed with a timber frame and finished in cedar cladding. The design pointed the way to houses Gropius would produce in the US, such as the house for himself in Lincoln, Massachusetts.
Picture
Denham Film Studios (1936) Image from Historic England.
Elsewhere he contributed to film studios in Denham, Buckinghamshire for Alexander Korda in 1936, designing the three storey office and laboratory buildings at the front of the complex. The buildings are built in concrete with flat roofs, and feature metal windows and railings. The studio ceased production in 1952, with the site rented out by the US Air Force then the Rank Organisation. Most Of the studio buildings were demolished from the 1970s, but Gropius’ buildings were listed and have now been turned into apartments. Gropius is also credited with helping design the Mortimer Gall Electrical Showrooms in Cannon St EC4, with its curved frontage of glass and black vitrolite. The interior was fitted out with a range of light fittings set amongst metal and timber fixtures. Maxwell Fry had designed a number of electricity showrooms so it is not known how much of the design was his and how much was by Gropius.
Picture
Impington Village College, Cambridgeshire (1939). Image from Impington Village College.
Gropius’ most significant work in Britain was not completed until three years after his departure in 1937. Impington Village College in Cambridgeshire was one of a number of these establishments, the brainchild of local Chief Education Officer Henry Morris, which provided education for those between 11-16, as well as community facilities for the wider population. The scheme that Gropius devised from Morris’s earlier plan has a long concourse building connected to a two storey classroom block at one end and an adult block at the other. It is constructed of yellow and red brick with lots of glazing, pale blue tiling and concrete door canopies. After Gropius departed in 1937, Jack Howe took over the detailing and the college was opened in 1939. 
Picture
Sketch for Isokon 3 at St Leonard's Hill, Windsor. Image from RIBApix.
Despite being feted by the relatively small modernist architectural community, Gropius found gaining commissions difficult. Two unrealized projects illustrate the conservative nature shared by both the planning committees and wider population of the time. A project on St Leonards Hill, Windsor for Jack Pritchard, with the working title “Isokon 3” was developed in 1935. Featuring 70 flats and a hotel on a site overlooking Windsor Castle. King George V had apparently given permission for it to be built, but the funds could not be raised. A similarly prestigious site was to be the venue for another Gropius design, Christ College in Cambridge. He had been asked to present alternative designs to Oswald P. Milne’s proposals for a new building on Hobson Street, but the new design lost the vote by the college's fellows, and Gropius left for the US 10 days later. 
Picture
45 Park Lane under construction (1963). Image from RIBApix.
Gropius had successfully applied for permission to stay in Britain permanently in June 1936, but the lack of work and what he saw in the country as a “general cluelessness and lack of artistic ability”, meant that when he received an invitation to chair the Department of Architecture in the Graduate School of Design at Harvard, he accepted. Gropius stayed at Harvard until 1952, and formed a short-lived partnership with fellow Bauhaus alumni Marcel Breuer (who also had a brief period in Britain), and later joined The Architects Collaborative practice. Gropius did later help design another building in London, 45 Park Lane, an office block that was later home to the Playboy Club. It was built for developer Jack Cotton in 1963, with Gropius enlisted to produce a design for the facade after the initial building was produced by architects Cotton, Ballard and Blow, with the German architect replacing the original Portland stone with concrete.  Gropius passed away on July 5th 1969 in Boston, aged 86.
0 Comments

Anatomy of a House No.22: The Hopkins House

29/4/2025

0 Comments

 

Anatomy of a House No.22

49a Downshire Hill, Hampstead
1975

Michael and Patty Hopkins

Picture
The Hopkins House as seen from the garden
Architect Michael Hopkins designed and oversaw a range of buildings throughout his career; the Mound Stand at Lords Cricket Ground, Portcullis House and the attached Westminster Underground station, the London 2012 velodrome and many others. But the one building most associated with him is the house he and his wife Patty designed for themselves on Downshire Hill in Hampstead. Widely known as the Hopkins House, 49a Downshire Hill is a straightforward steel and glass block tucked among the genteel properties of Hampstead (although of course the area is home to 1930s modernist designs by Erno Goldfinger, Connell Ward & Lucas and others). It acted as a home to the couple and their family, and an office for their practice up to 1984, until Michael’s death in 2023.
Picture
Cross section of the Hopkins House
Picture
The floor plans of the first and ground floors of the Hopkins House
Michael Hopkins was born in Poole on May 7th 1935, with his parents apparently deciding at a young age that he would become an architect. After studying at Bournemouth School of Art and spending time with the practices of Basil Spence and Frederick Gibberd, Hopkins enrolled at the Architectural Association. There he met fellow student Patty Wainwright, and the couple would marry in 1962. After graduating Michael would join the practice of Norman Foster where he worked on projects such as the Willis Faber & Dumas Building in Ipswich and the IBM Office in Cosham, both forward looking structures in glass and steel. In 1976, Michael and Patty set up in practice together, and needing both an office and home in London (they had a 15th century timber frame home in Suffolk), they decided to build a combined house and workspace themselves.
Picture
The first floor office space at the Hopkins House
The couple had found a plot on Downshire Hill in Hampstead with a 46ft frontage, normally enough for two houses. It had been part of the garden of the neighbouring house, previously owned by Frederick Gibberd. Rather than dividing the plot to build in half of itt and make a profit on the other half, they decided to use the whole area, with the first floor acting as the street level entrance and another floor below. Initially the first floor was given over to their office with the living area below, As time moved on and the family needed more space, the living area started to creep upstairs, and a new office for the practice was built in Broadley Terrace, Marylebone in 1984. 
Picture
The blue painted spiral staircase and internal frame. Image from RIBApix.

The structure for the new house was overseen by engineer Tony Hunt, who came up with a steel frame with plywood and metal decking for the floor plates, allowing a sturdy but lightweight framework. To the street and garden fronts, the house was finished in wall to ceiling glass and the sides in metal cladding. The Hopkins’ had wanted to experiment with space, choosing a plan that would give them the maximum available which they could then divide as suits. The internal space was divided by eight support columns, but these were only 60mm square, with movable plastic partitions and blinds used to designate different areas within. Shower and bedroom pods were later added to allow for more privacy for the family of two adults and three children. The industrial components used to create the house were livened up with blue painted metal work like the spiral staircase which connects the two floors and the internal frame. 
Picture
The Crystal Palace house in Bury St Edmunds (1978) by Michael & Patty Hopkins. Image from C20 Society.
The house was well received, winning a RIBA award and a Civic Trust Award in the years after it was completed. The house given a Grade II* listing designation in 2018. The Hopkins practice grew and grew from the late 1970s onwards, with a number of prestigious commissions and projects. The Hopkins only designed one other similar house, “Crystal Palace” in Bury St Edmunds in 1978. It is a single storey, pavilion-style house, built in steel and glass, with floor to ceiling windows all around. It suffered from a number of alterations over the years, but has been refurbished in 2015 by project orange. Michael Hopkins was awarded a CBE in 1989 and then knighted in 1995, He passed away on 17th June 2023. Patty Hopkins was awarded the OBE in 2024, and still lives at 49a Downshire Hill.
References

Historic England Listing Page

Newton: Architects' London Houses 


Jackson: Modern Steel House

Bradbury: Iconic British House 



0 Comments
<<Previous

    Archives

    October 2025
    September 2025
    August 2025
    July 2025
    June 2025
    May 2025
    April 2025
    March 2025
    February 2025
    January 2025
    November 2024
    October 2024
    July 2024
    May 2024
    April 2024
    March 2024
    February 2024
    November 2023
    September 2023
    August 2023
    July 2023
    April 2023
    March 2023
    February 2023
    January 2023
    November 2022
    October 2022
    September 2022
    July 2022
    June 2022
    May 2022
    January 2022
    December 2021
    November 2021
    September 2021
    July 2021
    January 2021
    November 2020
    October 2020
    September 2020
    July 2020
    May 2020
    January 2020
    October 2019
    September 2019
    July 2019
    April 2019
    March 2019
    December 2018
    November 2018
    October 2018
    September 2018
    August 2018
    July 2018
    June 2018
    May 2018
    April 2018
    March 2018
    February 2018
    January 2018
    September 2017
    August 2017
    July 2017
    May 2017
    April 2017
    March 2017
    February 2017
    December 2016
    November 2016
    September 2016
    August 2016
    June 2016
    May 2016
    April 2016
    March 2016
    January 2016
    October 2015
    September 2015
    August 2015
    July 2015
    May 2015
    April 2015
    February 2015
    January 2015
    August 2014
    July 2014
    June 2014
    April 2014
    February 2014
    November 2013
    October 2013
    September 2013
    June 2013
    April 2013
    March 2013
    February 2013

    Categories

    All

    RSS Feed

Proudly powered by Weebly
  • About
  • Metro-Land and Modernism
  • The Buildings
    • North London
    • West London
    • East London
    • South London
    • Counties
  • The Architects
  • Shop
    • The Guide
    • Mini Guides
    • Tube Station Books
    • Modernism Beyond Metroland
  • Blog
  • References & Links