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Affordable Housing
May. 23rd, 2026 08:41 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
ysabetwordsmithA friend tipped me to this:
THE PLOTLAND HOUSES OF BRITAIN: HOW A 20TH CENTURY WORKING-CLASS HOUSING MOVEMENT WAS STIFLED
His piece of land cost him £10 in 1934. It is 40 ft wide by 100 ft deep. First, he put up a tent which his family used at weekends, and he gradually accumulated tools, timber and glass which he brought to the site strapped to his back as he cycled down from London. – Dennis Hardy & Colin Ward, Arcadia for All, 1984, p. 200
In the first half of the twentieth century, and particularly in the inter-war period, up to the 1947 Planning Act, the appearance throughout Britain of thousands of self-built shacks, chalets, recycled buses and railway carriages was considered by the powers-that-be as a terrible eyesore. Middle-class planners like Clough Williams-Ellis, architect of Portmeirion, the set of The Prisoner, considered them a ‘blot on the landscape’ that needed to be eradicated. But from another viewpoint, 80 years on, they look like the beginning of a postmodern urban vernacular. They were a new working-class architecture in the process of being evolved, that was brought to a halt through ignorance and class prejudice.
( Read more... )
THE PLOTLAND HOUSES OF BRITAIN: HOW A 20TH CENTURY WORKING-CLASS HOUSING MOVEMENT WAS STIFLED
His piece of land cost him £10 in 1934. It is 40 ft wide by 100 ft deep. First, he put up a tent which his family used at weekends, and he gradually accumulated tools, timber and glass which he brought to the site strapped to his back as he cycled down from London. – Dennis Hardy & Colin Ward, Arcadia for All, 1984, p. 200
In the first half of the twentieth century, and particularly in the inter-war period, up to the 1947 Planning Act, the appearance throughout Britain of thousands of self-built shacks, chalets, recycled buses and railway carriages was considered by the powers-that-be as a terrible eyesore. Middle-class planners like Clough Williams-Ellis, architect of Portmeirion, the set of The Prisoner, considered them a ‘blot on the landscape’ that needed to be eradicated. But from another viewpoint, 80 years on, they look like the beginning of a postmodern urban vernacular. They were a new working-class architecture in the process of being evolved, that was brought to a halt through ignorance and class prejudice.
( Read more... )
