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"Connell Ward and Lucas were seen by some as irritants on the British architectural scene of the 1930s - a scene largely the province of traditionalists, class snobberies and latent xenophobia. They ruffled the feathers of the architectural establishment and poured scorn on the ignorant and restrictive practices of the planners. They even infuriated their MARS Group colleagues. Never deviating from their beliefs in Corbusian principles, they produced the most authentic modern buildings of the period, many of which now have iconic significance." "This book is the first major monograph on Connell Ward and Lucas and the result of many years of research and study. It puts the work of the trio into the context of the times and incorporates unique material obtained from their colleagues, friends and relatives as well as contemporary and newly commissioned photographs, original drawings and authoritative statements by all three partners."--BOOK JACKET.

The modern House reflects upon the complicated relationship architecture has with the terms "Modernist", "Modernism" and "Modern" specifically in relation to the potent concept of the home, reflecting in part the narrative of how some of the most important examples of Modern houses were commissioned and built in the UK. These special examples of British Modernism include such progressive experiments on communal urban living as London's Isokon Building, completed in 1934 by eminent architect Wells Coates, and Berthold Lubetkin's Highpoint, which is today considered one of the most prominent examples of the early International Style. Compared with these urban enormities are private houses, such as the Laslett House in Cambridge, 1958, by the architect Trevor Dannatt, or the Winter House, designed by John Winter as his own residence. Included are an extended introductory essay by acclaimed architectural journalist Jonathan Bell, former architecture editor for Wallpaper* and contributing editor at Blueprint, and projects such as those designed by renowned architect Carl Turner, responsible for the low energy Slip House, a cantilevered sculptural abode of translucent glass, steel and concrete. With images of yet to be seen interiors and restorations, The Modern House illuminates the convergent characteristics of functionalism, truth to materials, flowing space and natural light within the Modern home as a space for living.

The definitive illustrated guide to modern British architecture, from one of the most acclaimed critics at work today Modernism is now a century old, and its consequences are all around us, built into our everyday lived environments. Its place in Britain's history is fiercely contested, and its role in our future is the subject of ongoing controversy - but modernist buildings have undoubtedly changed our cities, politics and identity forever. In Modern Buildings in Britain, Owen Hatherley applauds the ambition and explores the significance of this most divisive of architectures, travelling from Aberystwyth to Aberdeen, from St Ives to Shetland, in search of our most important and distinctive modern buildings. Drawing on hundreds of examples, we learn how the concrete of Brutalism embodies post-war civic principles, how corporate values were expressed in the glass façades of the International Style, and why Ecomodernist experimentation is often consigned to the geographic fringes. As Hatherley considers the social, political and cultural value of these structures - a number of which are threatened by demolition - two linked questions emerge: what happens to a building after it has been lived in, and what becomes of an idea when its time has passed? With more than six hundred pages of trenchantly opinionated, often witty analysis, and with three hundred photographs in duotone and colour, Modern Buildings in Britain is a landmark contribution to the history of British architecture.

Thoroughly illustrated with images of the buildings under discussion, advertisements, and other historical photographs, Britain is an authoritative, yet highly accessible, account of twentieth-century British architecture.

Our built environment inspires writers to reflect on the human experience, discover its history, or make it up. Buildings tell stories. Castles, country homes, churches, and monasteries are “documents” of the people who built them, owned them, lived and died in them, inherited and saved or destroyed them, and recorded their histories. Literature and Architecture in Early Modern England examines the relationship between sixteenth- and seventeenth-century architectural and literary works. By becoming more sensitive to the narrative functions of architecture, Anne M. Myers argues, we begin to understand how a range of writers viewed and made use of the material built environment that surrounded the production of early modern texts in England. Scholars have long found themselves in the position of excusing or explaining England’s failure to achieve the equivalent of the Italian Renaissance in the visual arts. Myers proposes that architecture inspired an unusual amount of historiographic and literary production, including poetry, drama, architectural treatises, and diaries. Works by William Camden, Henry Wotton, Ben Jonson, Andrew Marvell, George Herbert, Anne Clifford, and John Evelyn, when considered as a group, are texts that overturn the engrained critical notion that a Protestant fear of idolatry sentenced the visual arts and architecture in England to a state of suspicion and neglect.

Between 1935 and 1959, the architecture of childhood was at the centre of architectural discourse in a way that is unique in architectural history. Some of the seminal projects of the period, such as the Secondary Modern School at Hunstanton by Peter and Alison Smithson, Le Corbusier’s Unité d’Habitation at Marseilles, or Aldo van Eyck’s playgrounds and orphanage, were designed for children; At CIAM, architects utilized photographs of children to present their visions for reconstruction. The unprecedented visibility of the child to architectural discourse during the period of reconstruction is the starting point for this interdisciplinary study of modern architecture under welfare state patronage. Focusing mainly on England, this book examines a series of innovative buildings and environments developed for children, such as the adventure playground, the Hertfordshire school, the reformed children hospital, Brutalist housing estates, and New Towns. It studies the methods employed by architects, child experts and policy makers to survey, assess and administer the physiological, emotional and developmental needs of the ‘user’, the child. It identifies the new aesthetic and spatial order permeating the environments of childhood, based on endowing children with the agency and autonomy to create a self-regulating social order out of their own free will, while rendering their interiority and sociability observable and governable. By inserting the architectural object within a broader social and political context, The Architectures of Childhood situates post-war architecture within the welfare state’s project of governing the self, which most intensively targeted the citizen in the making, the children. Yet the emphasis on the utilization of architecture as an instrument of power does not reduce it into a mere document of social policy, as the author uncovers the surplus of meaning and richness of experience invested in these environments at the historical moment when children represented values and ideas about life, community, happiness, human potentiality, and perhaps even the very prospect of imagining a more humane and secure future at the aftermath of the Second World War.

BRUTAL NORTH is the first photographic exploration of modernist and Brutalist architecture across the North of England. During the post-war years the North of England saw the building of some of the most aspirational, enlightened and successful modernist architecture in the world. For the first time, a single photographic book captures those buildings, in all their power and progressive ambition. Over the last few years acclaimed photographer Simon Phipps has travelled and sought out the publicly commissioned architecture of the post-war North. From Newcastle's Byker Wall Estate, voted the best neighbourhood in the UK, to the extraordinary Park Hill Estate in Sheffield, from Preston's sweeping bus station and Liverpool's Royal Insurance Building, these structures have seen off threats to their survival and are rightly celebrated for the imprint they leave upon the skyline and the cultural life of their cities. This inspiring invitation to explore northern modernism includes maps and detailed information about all the architecture photographed. 'Captures the most aspirational and enlightened architecture of the north's postwar years.' Guardian Please note this is a fixed-format ebook with some colour pages and may not be well-suited for older e-readers.

From Barnet to Richmond, explore the history of London's Metro-Land A Guide to Modernism in Metro-Land is your essential pocket guide to the modernist architecture of London's suburbs. Inspired by John Betjeman's 1973 documentary Metro-Land and the writing of Ian Nairn, it examines the growth of the city's suburbs from the 1920s up to the present day – a story that is closely interwoven with the development of innovative architecture in Britain – through its most remarkable modernist buildings. Featuring work by architects such as Charles Holden, Erno Goldfinger and Norman Foster, the book covers nine London boroughs and two counties: Barnet, Brent, Ealing, Enfield, Haringey, Harrow, Hillingdon, Hounslow, Richmond, Hertfordshire and Buckinghamshire. It is designed to help you explore Metro-Land's modernist heritage, featuring short descriptions of each building alongside maps of the areas covered, and more than 100 colour photographs.