Modernist Estates: The buildings and the people who live in them

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Sprowston Mews is located five minutes walk from Forest Gate train station, and is home to an emerging creative community of architects and self-builders, inspired by the experimental mews house-building of the 1960s, such as Murray Mews in Camden. Forest Gate is named after the southern gate to Epping Forest, one of the largest expanses of common land in London. Wanstead Flats, with its 450 acres of heathland, are within a fifteen minutes’ walk. It is incredibly well connected with frequent trains to Liverpool Street via Elizabeth line taking just 13 minutes. Wanstead Park and Woodgrange Park are on the Overground with trains to Gospel Oak and Barking.

Modernist Estates: The buildings and the people who live in them Modernist Estates: The buildings and the people who live in them

Modernist Estates” is an attractive, sumptuous book reflecting the modern taste for modernist/brutalist architecture. It covers works by Goldfinger, SPAN, etc with brief architectural scene-setting for each development, interviews with the householder(s) and a series of interior shots. We had lived in the better-known Isokon building for six years and dreamt of living in Berthold Lubetkin’s Highpoint in Highgate but couldn’t afford it, so it had to be a 1930s building of architectural merit. Whitehall Lodge has plenty of original features, and also a generous landscaped garden. Muswell Hill is a very nice part of north London, a real village with lots of small shops and cafés. I think Bauhaus was a very German phenomenon,” says Bettina. “We were very late to industrialise. It responded to a need to re-educate craftsmen and catch up with France and the UK. The first world war had destroyed nationalism of the imperial kind and 1919 was a new dawn.” The first property they marketed was Six Pillars in Dulwich, south London. “ Which is a Tecton house,” Hill says. “Grade II*.” Although it was already on the market with another agency, Hill and Gibberd called the owner and told him about their fledgling company. “He said: ‘Great, let’s do it!’” Hill recalls. “He said the other agency didn’t understand the house.” In 2010, as Laurent was walking in Courbevoie, he discovered a tiny little street where he felt time had stopped for 50 years. "The place was surreal. I befriended a couple of old people and started to photograph them. Their traditional garden offered a stark contrast with the surrounding skyline of towers, bringing together two different eras, two different living styles."This book would certainly be of interest to architecture buffs, as well as people interested in engineering, urban planning, and postwar English history, but I think almost anyone could appreciate the gorgeous pictures and unique look at a distinct time in modern history. We have replaced the non-original flooring throughout, so we now have floor tiles in the kitchen based on what Alvar Aalto used in Finland in the 1930s. We also replaced all internal door handles with replica Bakelite 1930s handles and put in 1930s glass globe ceiling pendant lights throughout. All furniture is either Heal’s originals from the 1930s, Isokon by Marcel Breuer or Artek by Alvar Aalto, plus floor and desk lights by Poul Henningsen. The only post-war furniture we own is Vitsoe shelving, designed by Dieter Rams in 1960; we have an insane amount of books and records. Gorgeous and absolutely fascinating! This is a thorough and affectionate exploration of almost two dozen Modernist public housing complexes in England. Most were built during the postwar era, though the overall range spans from the 30s to the 90s. It brought to mind some of the later seasons of Call the Midwife, which often dealt with London's housing crisis. Several characters moved into flats like these and it was interesting to get a real-life look at the types of places they lived.

Beat lockdown boredom with these architectural walking guides Beat lockdown boredom with these architectural walking guides

This geographical spread and chronology is interesting as it reminds us that Modernism in these terms is much more than a stylistic label. Although the examples selected include Le Corbusier’s Unite in Marseilles and works by Arne Jacobsen, there are also projects by Aldo Rossi and Ricardo Bofill, architects who defy easy categorisation as orthodox modernists.The construction (from 1959) is less robust than what we were used to in the Barbican Estate and sound thermal insulation is less than ideal. It would be hard to improve either of those as the pivoting Crittal windows mean that secondary glazing is problematic. We designed and installed a glass screen between the kitchen and living room as someone before us widened the original opening and we wanted to enclose the kitchen but also make sure it looked visually open. As the 1920s wore on, Weimar became increasingly conservative and, in 1925, Gropius moved Bauhaus 130km north-east to Dessau. Home to the Junker aeroplane factory, this city had a strong tradition of industrial design and it was here the movement reached its apogee. A short walk from Dessau’s main station is the movement’s radical-looking glass-fronted HQ, the Bauhaus Building. Commissioned by the city, it was designed by Gropius and built in 1925-26 to house the various departments of a school that taught everything from furniture design to architecture to typography. During this guided walk, the architects will be discussing their respective designs and the challenges and opportunities of infill housing and estate regeneration. As part of the tour, we will also talk through Camden Council’s programme to upgrade the open and green spaces on the estate. Why focus on the older generation living there? "I have always been inspired by seniors and I had this deep feeling to put them at the front stage. I wished to communicate with them, know their life and try to deconstruct this sometimes depreciating image of the old age which arises from our society. I then said to myself that there was a subject to explore both on the passing of the generations as well as on the impact of time on the architecture and the lives which it tries to harmonise." The lower end of the market always sells so well,” says Hill. “One of the founding principles was: it’s not about price, it really is about design, and we’ve always tried to keep as broad a price spectrum as we can.”