PSEUDO-GEORGIAN LONDON

bronstein

After reading my post on Suburban Modernism, someone drew my attention to Pablo Bronstein’s 2017 RIBA exhibition on Pseudo-Georgian architecture. There was a book (above) to accompany it.

“The reality is,” said Bronstein, “that we have created much more pseudo-Georgian architecture over the last 30 years than any other kind of building. For most of us, it seems, a cheap yellow-brick facade evokes almost effortlessly a rosy everlasting British prosperity.”

Oliver Wainwright wrote a haughty review of Bronstein in The Guardian: “His pen and ink drawings, drafted in a quaint style reminiscent of postcards from National Trust gift shops, depict a world oozing with aspiration. There are humble homes gussied up with pediments and plastic porches, as well as banal commercial apartment blocks with facades arranged in vaguely Georgian proportions.”

Bronstein noticed a connection between pseudo-Georgian and the Conservative right-to-buy-policy, which encouraged council tenants to purchase their own flats. In their own homes they turned from modernism to nostalgia. The parallel with Tudorbethan is inescapable: between the wars, when home ownership was rapidly expanding, there was a similar turn to designs that evoked the past.

A few years ago I organised public consultations in Hatfield and met people who had been asked by officials about the design of the new town in the 1950s. They recalled that they were listened to and then ignored. They may not have wanted Tudorbethan or Pseudo-Georgian, but the leaders of good taste and good design had already decided what they should have.

PRESTON BUS STATION: IN DEFENCE OF MODERNISM

Britain was never at home with modernism. We are comfortable with the 1930s semi, the fag-end of the vernacular revival, made from builders’ pattern books. Hatfield, a new town, built during the 1950s, is now being extended in this style. It’s bad enough when town planners won’t allow any new buildings that jar with the Georgian or Victorian townscape, it’s worse when they allow Tudorbethan buildings in an essentially modernist town.

My own town, St Albans, has few modernist buildings. In The Buildings of England, Nikolaus Pevsner singled out the Express Dairy in Branch Road, a good sub-Bauhaus building. The college of further education had a modernist extension that attracted a Civic Society award. Both sites have been converted to housing, the Express Dairy butchered but the college building thankfully preserved.

Housing developments in continental Europe don’t defer to the past like ours and people live more happily in the present. The irony of the British desire to heritage everything, and to make every building look old, is that that it leaves no heritage of our own time.

So I was pleased to see the mounting campaign to save the Preston Bus Station (top), an outstanding Brutalist building, designed by Keith Ingham and completed in 1969. It is faced with demolition by Preston City Council. All parties on the council want it to go, although the people of Preston recently voted it their favourite building. Unfortunately, it doesn’t work as a bus station, but less versatile modern buildings have been preserved – for example, the Shredded Wheat factory in Welwyn Garden City with its monumental grain silos (above). The bus station could certainly find a suitable use for the 21st century.

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