Thursday, 1 February 2018

Picture Post 64 - The Hitchcock Murals at Leytonstone Station

There is a long history of public art on London's Underground including the iconic advertising posters of the 1930's and the Paolozzi murals installed at Tottenham Court Road Station in the 1980's.   Leytonstone Station at the eastern end of the Central Line is home to another set of murals - a series of 17 mosaics paying tribute to the films of Alfred Hitchcock. Hitchcock was born in Leytonstone in 1899 in a flat above his parents' grocers shop on the High Road, just a short walk away from the station. He was to make more than 50 films including some of the most iconic suspense movies of all time. His achievements are celebrated in the murals displayed a short walk from his birthplace. 

Rebecca
The Wrong Man
The brightly coloured works were produced by the Greenwich Mural Workshop. They took seven months to complete and were installed in 2001. There are 80,000 mosaic pieces in total, made from vitreous glass tesserae. They include scenes from Rear Window, Vertigo, Psycho and Strangers on A Train as well as images of Hitchcock relaxing with Marlene Dietrich and one of the director as a young man.

The station has two entrances linked by a long corridor with the murals arranged along its full length. There is also some interesting vintage advertising and a strange wooden triangular display unit just outside the High Road exit, displaying three paintings of Hitchcock and scenes from two of his films. The wooden unit has been colonised by pigeons giving it a distinct Hitchcockian feel, think The Birds. Leytonstone is just five stops east of Liverpool Street on the central line. There are a couple of good places to go for coffee on the High Road including the Wild Goose Bakery  whilst the library in Church Lane, just two minutes from the station has several original art deco features. The Olympic Park at Stratford is not too far away and a visit to both can easily be combined.

Psycho
Suspicion
To Catch A Thief
Saboteur
Vertigo

Wednesday, 24 January 2018

Balham's former Odeon...only it's in Clapham!

The former Balham Odeon cinema is a two minutes walk from Clapham South Underground Station. For many people the cinema was misnamed as it is closer to Clapham than to the centre of Balham. Designed by George Coles, it opened in April 1938 as part of Oscar Deutsch's Odeon chain. The height of modernity, the cinema boasted the latest developments in projection, sound  and air conditioning. Visitors were able to meet their friends in a large foyer before ascending the central staircase leading to a first floor cafe flooded with natural light. On their way up patrons would pass pink mirrors designed to soften and flatter their features! The first screening was Blondes For Danger, a thriller starring Gordon Harker as Alf Huggins, a London taxi driver caught up in a political assassination.


The Odeon was the largest cinema in this part of London and could seat 1,822 patrons, 1,216 in the stalls and 606 on the balcony. Its location on Balham Hill meant that the illuminated sign was visible from some distance and no doubt helped attract visitors from a wide area. Its popularity would have been aided by it's being the main cinema for some distance, the nearest large competitor being Tooting's Granada. The Odeon survived damage from a German bomb in 1941 and reopened after a few weeks following completion of temporary repairs. However it was not able to survive a downturn in attendances during the 1970's and closed on 9th September 1972 when Shaft's Big Score and No Blade of Grass were the final screenings.

Renamed the Liberty Cinema, the doors reopened at the end of 1974, to show Asian films. However, this also was not to last and  the second and final closure came in 1980. The building then stood empty and vandalised before the auditorium was demolished in 1985 and the Majestic Wine Warehouse took over the foyer with flats added at a later date.  Today only the original facade remains and still has an imposing presence. Symmetrical and curved at the front corners, the two halves are joined by a central tower which once bore the illuminated sign carrying the Odeon name. The whole facade is clad in beige faience which to me at least always adds an air of modernity. Whilst it is good that at least the facade remains, it is sad that the former Balham Odeon is one of many art deco cinemas lost to London.


You might also like Woolwich Odeon art deco survivor in south-east London and A Postcard from India 4 - Calcutta's Art Deco Metro Cinema 

Tuesday, 16 January 2018

Picture Post 63, Kingsley Court North London

Kingsley Court is a magnificent modernist building just five minutes walk from Willesden Green tube station. It is surrounded by those large, slightly forbidding Victorian era houses found across North London, its red bricks and white rendering between floors making it stand out from its neighbours. The building was designed by Peter Caspari, commissioned by Davis Estates with construction commencing in 1933 and completed the following year.  It consists of 54 flats over six storeys, built to a z-shaped plan. The site is very narrow at the junction of two roads and beside the tracks of the Jubilee Line. 



Caspari used the restrictions of the site to create a number of interesting features including the undulating and recessed elements facing Park Avenue, metal window frames, the tower on the curved corner and the flatter, but white banded facade in Chapter Road. The Chapter Road entrance is set in a curved protruding lobby, topped with fenestration and leading to a recessed central stairwell. The glazing is divided by four white bands reflecting the thicker rendering on the main facade. The building was listed with Grade II status in 2000. It appears to be well maintained from the exterior but a number of comments received in response to a planning application in 2013 make reference to poor maintenance as well as the leaseholders making efforts to restore the original look of the building.



The architect was a German Jewish refugee. An active member of an anti-Nazi organisation he fled Germany in 1933 after being tipped off by the family chauffeur that he was about to be arrested. He first went to Switzerland before coming to London with his wife, medical student Erica Lichtenberg. He quickly learned English in order to secure work and Kingsley Court was one of his first commissions. It is often described as the first expressionist building in the UK. This should come as no surprise as Caspari had worked as assistant to Erich Mendelsohn and also had contact with Bauhaus luminaries Walter Gropius and Mies van der Rohe. He would go on to design the more austere Kimber Court in Putney in 1939 before emigrating to Canada after the War where he was responsible for several buildings in Toronto and Calgary.


Monday, 15 January 2018

The Illustrated Weekly of India - 15th March 1936

I first came across the Illustrated Weekly of India when researching the work of the wonderful photographer, Homai Vyarawalla. Several of her iconic black and white pictures were published in the Mumbai based journal during the 1940's although in the early days they were included under her husband's name. The Weekly as it was known by its devoted readers was first published in 1880 and for more than a century was one of the most popular English language publications in India. 


Published in large format, it included high quality photography, travel and sports reportage, fiction, gossip, cartoons and several pages of advertising. Its many readers included students who used it to improve their command of English and to extend their vocabulary. Amongst others, the magazine was edited by award winning author Khushwant Singh whose novel Train To Pakistan is acknowledged as one of the best works about Partition. Sadly, the magazine closed in 1993 when due to intense competition from other titles, the parent company decided to end publication, preferring to concentrate on revitalising its newspapers.

After some searching on a variety of websites I managed to get hold of the 15th March 1936 edition of The Weekly. It is a fascinating record of life of the better off in the lead up to the Second World War and before independence and partition. As well as coverage of Indian news, there are articles on a rebellion in the Japanese army which included the murder of several government ministers, a travel piece on Mongolia and treasure hunting in the Seychelles. A piece on investment notes worrying developments in Europe, making reference to German re-occupation of the Rhineland. Coverage of sport is also prominent with a full page piece on The Art of Table Tennis, photographs of some very serious Indian cricketers about to tour England, a piece on hooliganism at a Calcutta cricket game and  an illustrated Round the Sports World article. The latter item includes a reference to the Calcutta Inter-School sports for girls which included a balancing race requiring competitors to carry earthen pots on their heads. Exercise and deportment in one go.



As already mentioned this edition was published some years before independence and partition. This is reflected in the extensive coverage of all things British including an article on a royal visit to Canada and a news roundup under the heading Britain Week by Week. There is also an item on a hailstorm in the city of Lahore, later to become part of Pakistan, which reports "...for ten minutes hailstones the size of Indian hens' eggs made a carpet of ice in the city, killing hundreds of birds in flight..trees were denuded of their leaves and the Mall and other thoroughfares were turned into small rivers".  

I especially like the advertising pages which are spread throughout the magazine rather than being gathered in a single place. Many of them are related to health, offering medicine, pills and advice on a range of ailments including headaches, kidney trouble, stomach and bowel troubles, painful piles (with a cream dispensed from a tube with a terrifyingly long sharp point), blood pressure and asthma which it seems could be cured in a mere ten minutes by taking something called Ephazone. There are also advertisements for various skin creams, hair dye, hair restorer, hair remover and other beauty products, different types of film for your camera and various household goods. I am especially interested in the advert for Yaffi's Hair Restorer which claims  to ...cures baldness...gives tone and style to the most awkward head of hair...removes dandruff, prevents falling hair and gives an energising effect to the brain. Not only that It does not soil hat or pillow. Next time I am in Mumbai I will go in search of Mr. Yaffi's shop! A number of well known British brands advertised in The Weekly including Cow and Gate, Bisto, Brooke Bond, Pears and Lea and Perrins.



It was photography that led me to the Illustrated Weekly of India and it was also a draw for the readers. As well as being able to enjoy high quality photographs each week, they were encouraged to submit their own pictures. Prizes were awarded for the best and this week's winner was a Mrs. Z. D. Basrai of Bombay for her picture entitled "Festival in Bali" featuring a Balinese dancer. And like all good magazines, The Weekly contained what would today be known as a gossip page, reporting on the activities of film stars, royalty and politicians. This week's edition included the news that actress Margaret Lockwood had been cast in a new film, The Beloved Vagabond which was to star Maurice Chevalier. This famous and popular British actress, born in Karachi was to go on and make many more films including the Alfred Hitchcock directed The Lady Vanishes.

The India Illustrated Weekly is a wonderful archive of a world that has largely disappeared. If any former readers of the magazine find their way to this post, they would be very welcome to share their memories of it in the comments below.


Friday, 12 January 2018

Queen's Court, 1930's elegance in Bristol

Queen's Court in Bristol's Clifton neighbourhood was the first large scale luxury block of flats to be built in the city. Designed by architect Alec F. French, it was built in 1937 at a time when the area boasted cafes restaurants and department stores frequented by the wealthy and the fashionable. Queen's Court was intended to attract residents from amongst these people as well as artists, writers and media types working in the BBC's Broadcasting House in the city centre.


The building stands eight storeys tall and has 74 one, two and three bedroom flats and a penthouse. The block's shape reflects the art deco ocean liner motif so popular in the 1930's. The relatively simple exterior is enhanced  by the beautiful red bricks, Crittall windows and balconies that rise above each of the entrances and on the "arrow head" tower. 

During this period many apartment blocks offered special services to residents and Queen's Court was no exception. The flats had access to liveried porters who were available to collect shopping and carry out a range of tasks at the whim of the residents who also benefited from a restaurant and underground parking space for 26 cars. The restaurant was also open to non-residents offering luncheons, teas and grills until 10 p.m. as well as the option of a separate room for small parties. Modern conveniences in the flats included fitted kitchens, refrigerators, electric lifts and refuse chutes whilst Wells Coates of Lawn Road Flats fame designed a range of furniture for the new homes. This was reflected in the original rental charge of £150-200 per annum and £350 for the penthouse.

The ground floor was given over to retail. This is still the case and the units currently include a hairdressers, a fast food restaurant and a seemingly abandoned costume hire shop. The hairdressers occupies the former Brunner's cake shop which I understand once sold legendary chocolate cream buns.  Brunner's closed many years ago which is a shame as I am partial to a nice cake. During the Second World War the roof was used as an air raid lookout post and a basement shelter was installed for the protection of the residents. Although Bristol was heavily bombed and much damage was done in the vicinity, Queen's Court survived unscathed.





During the 1960's and 70's the building began to attract students as well as actors and artists. The film Some People was made here in 1962. A musical set in Bristol about juvenile delinquent bikers, it starred Kenneth More as a social worker trying to keep them out of trouble. Harry H. Corbett of Steptoe and Son fame played the father of one of the youngsters. Actress Beryl Reed and musician Russ Conway were visitors to Queen's Court during the 60's but the biggest names by far to be connected with the building were the Beatles who owned it for a short time as part of their Apple Company portfolio. It is not known if they ever visited.

During the 1980's the building deteriorated and began to attract criminal activity including drug dealing. In more recent years the flats have undergone some refurbishment in an effort to attract young professionals. I visited on a grey January day but despite the bleakness of an English winter, Queen's Court's retains a certain elegance and is no doubt a desirable address. Evidence of this includes a three bedroom flat offered for rent at £975 per month back in 2013. A snip.


Thursday, 4 January 2018

Woolwich Odeon - Art Deco survivor in south-east London

Woolwich in south-east London is home to one of the city's most striking art deco buildings. The former Odeon cinema was designed by George Coles for  Oscar Deutsch and opened on October 25th 1937. Deutsch established a total of 285 Odeon cinemas with a flagship in Leicester Square and a presence in most major cities and many smaller towns. Several remain and continue to attract film fans but many have either been lost to demolition or are now used for other purposes. The former Woolwich Odeon now operates as the evangelical New Wine Church. 


A wonderful example of the more streamline style, the cinema's lengthy facade is clad in beige faience and has a central tower over the main entrance, narrow vertical glazing on the stairwell and a raised platform with a vertical light tower. The long sweep of the facade includes a stylish curve where the main body of the building recesses from the entrance with further recessing at the upper level. The original design included neon tubing around the frame which must have been quite a spectacle at night. No doubt the light show attracted customers, 1,178 of whom could be accommodated in the stalls with a further 650 in the balcony. The interior included a backlit floral frieze made from moulded plaster as well as troughs of concealed lighting. Architect Coles designed about 90 cinemas in total including London icons the streamline Muswell Hill Odeon and the more flamboyant former Gaumont State in Kilburn which could seat an amazing 4,004 patrons. Both buildings are Grade II listed and the Muswell Hill Odeon is still a working cinema. 



The first screening at the Woolwich Odeon was of The Gang Show starring Ralph Reader and Gina Malo. In later years ownership passed to the Rank organisation which undertook internally remodelling in 1964, stripping away much of the original decoration. Following a well known pattern, audiences declined in the 1970's and the cinema closed on 17th October 1981. The final screenings were of The Janitor (also known as Eyewitness) starring William Hurt and Rust Never Sleeps, a documentary about musician Neil Young. The building was then unused until 1983 when Panton films, an independent film exhibitor took it on and re-opened as the Coronet with a screening of Return of the Jedi. Further remodelling took place in 1990, to establish a second screen, resulting in an overall reduction in seats.

Sadly, the Coronet years also came to an end in 1999 with a further closure. The building was acquired by the church in 2001 and was renamed as Gateway House. The exterior is in good condition and it appears that the current owners have taken the 1973 Grade II listing seriously. 


Sunday, 31 December 2017

The Diamond - Wolverhampton's Art Deco Jewel

Wolverhampton once had several art deco cinemas. Today only one remains and it now operates as a banqueting hall. The former Odeon stands in Skinner Street in the town centre and was designed by Harry Weedon and P.J. Price for Oscar Deutsch, owner of the Odeon chain. It was formally opened on 11th September 1937 by the then Mayor, Charles Mander. The first screening was of Dark Journey starring Conrad Veidt and Vivian Leigh.


A single screen cinema, it could originally seat 1.272 in the stalls and 668 in the balcony. It was re-modelled in 1973 when a second screen was added, resulting in a significant reduction in the total number of seats. Throughout the 1970's and 80's attendances fell and the final screening took place on 4th June 1983 when The Boys In Blue, Table For Five and Nutcracker were shown. The building was then converted to a Top Rank bingo club and restored to a single auditorium. Later acquired by Mecca Bingo it closed again in March 2007 and was offered for sale. It now operates as The Diamond Banqueting Suite. Listed in 2000 with Grade II status, several original features remain, particularly on the facade. On a recent visit to Wolverhampton I managed to peep through the main doors and the tiled entrance lobby, grill at first floor level and some of the internal doors also appear to be original or at least good replicas.

The building has a striking facade, topped by a tower on the left hand side. There are two vertical ribs made of black faience that contrast with beige tiles on the rest of the tower. Elegant horizontal red ribs run up the tower's side as well as on the facade where they are crossed by vertical green bands. The entrance is below a projecting canopy whilst to the right there are five imposing double height windows surrounded by black faience crossed with green stripes and surrounded by beige tiles. The space above the windows originally carried the word Odeon but has been replaced with Diamond - the building's current name,  albeit in stylised Art Deco lettering. The word Odeon has also been removed from the tower's summit.




Architect Weedon was a local man, born in Handsworth, Birmingham. He studied at Birmingham School of Art and was made an Associate of the Royal Institute of British Architects at the age of 24. Influenced by the work of Erich Mendelsohn, he oversaw the design of Oscar Deutsch's Odeon chain of cinemas in the UK, including several in the West Midlands. After the Second World War, he designed a number of major industrial premises and continued working until his death in 1970. His practice still operates.

Wolverhampton's other deco cinemas included the Cannon, originally the Savoy and later the ABC, which also opened in 1937. The architect was William Riddell Glen who was designed a number of art deco style buildings in East London. The Savoy originally boasted 1,777 seats and a cafe for cinema patrons. Sadly it was demolished in 1995 and replaced by a spectacularly ugly building housing a nightclub. I lived in Wolverhampton for a few years in the mid 1980's and saw a few films at the Cannon. Its demise represents a major architectural loss to the town.

The wonderful Cinema Treasures website lists 14 demolished Wolverhampton cinemas, including several in the suburbs. One of my favourites is the former Carlton Cinema in Horsley Fields which apparently started life as a pork sausage and pie factory. Perhaps they sold sausage rolls in the foyer!

You might also like Cinema Orot - Brutalist Architecture in Beersheba or Art Deco in the Philippines, Manila's Majestic Metropolitan Theatre

Wednesday, 13 December 2017

London Art Deco and Modernism - A Further Five

Earlier these year I posted two pieces highlighting some of London's very best art deco and modernist buildings. Both posts were well received so here is a third one in the series, to round off the year. This time, we have a mixture of residential and commercial buildings from right across the city.

Former Daily Express building, Ellis, Clark and Sir Owen Williams, 1930-32.
Fleet Street was once the centre of Britain's newspaper industry. Most of the papers moved to Docklands in the 1980's, despite mass protests against both the move and increased mechanisation. Reuters were the last to leave in 2005 and there are no longer any news organisations in the street whose name is still synonymous with journalism. However some fine examples of art deco and streamline moderne architecture that were once home to national daily newspapers can still be seen. My favourite is the former Daily Express building at number 120 Fleet Street.  In 1930 Lord Beaverbrook commissioned architects Ellis and Clarke to extend an already existing structure but when their original proposals proved impracticable Sir Owen Williams was called in to assist. Problems resolved, construction was completed in 1932. Williams would later go on to design and construct the first section of the M1 motorway. 

The exterior features a stunning black vitrolite and glass facade with the name Express being retained at ground floor level in stylised art deco lettering. The incredible deco entrance hall is off limits to all except employees and visitors with appointments. It was designed by Robert Atkinson and includes relief panels sculpted by Eric Aumonier who created the famous archer at East Finchley station. It also features an oval staircase and silvered pendant lamp. The building was listed with Grade II status in 1972. The Express left in 1989 and ownership has now passed to Goldman Sachs. Open House London if you are listening - this would be a great place to have on your programme for 2018.

Trinity Court, Grey's Inn Road, F. Taperell and Haase, 1935.
Trinity Court is a beautiful Art Deco apartment block, completed in 1935 on Grey's Inn Road, a short  walk from Kings Cross Station. Architects F. Taperell and Haase designed this eight storey rectangular block, the shorter sides of which face the street. The magnificent facade includes double glazed doors with decorative tracery above which a pediment bears the name in blue letters, contrasting with the white wall. Seven metal framed windows stand above, culminating in a second pediment which conceals the housing of the lift shaft at roof level. There are balconies at each side of and these are accessed through a door which adjoins metal blue framed bay windows. The blue contrast is continued with the balustrades some of which have decorative detail.

The architects designed a number of apartment buildings in London during the 1930's including Heath View in Kentish Town. Haase turns up in the 13th May 1931 edition of the Singapore Free Press and Mercantile Advisor as a victim of robbery from his house in Marylebone. The thieves made off with several items including a Van Dyck painting, several Persian rugs, 22 Chinese ivory figures and four boxes of cigars - each containing fifty. He clearly liked a smoke.

Trinity Court backs onto the former St. Andrews Holborn burial ground which is now a pleasant public park. In the summer it attracts office workers from the surrounding area who come to eat their lunch. When I first came to London it was inhabited by street drinkers and drugs detritus was clearly visible. I'm not sure when the change occurred but renovation works were carried out a couple of years ago so perhaps then. The rear mirrors the front facade with the exception of having a smaller entrance and an incongruent modern lobby.

Trinity Court entrance.
Cholmeley Lodge, Guy Morgan, 1935.

Cholmeley Lodge stands in a small side street at the top of Highgate Hill. Completed in 1935, it was the work of Guy Morgan who also designed Florin Court in the City of London. The Lodge shares some features with Florin Court, in particular the wave of three curved crescents on the facade. Awarded Grade ll listed status in 2003 for architectural and historical interest, it was constructed with yellow bricks and cast stone with steel horizontal bar casement windows. There are four entrance doorways with fluted surrounds and a curved canopy, each bearing the name of the block in stylised lettering. The overall impact is enhanced by boldly projecting, squared off balconies on every floor.

Each of the crescents have staircase towers leading to a flat roof, designed as a sundeck and which must offer spectacular views over the city. Reflecting both the modernity and the class divisions of the 1930's, the Lodge was designed with a series of lifts for residents and staircases for trades purposes - at the rear of course. The listing status refers to 54 flats in the block, although according to a 2006 Haringey Council report on the Highgate Conservation Area there are only 48.

If things had gone as planned, Cholmeley Court would not have been built in London. Originally intended for Bournemouth, it was rejected by the local planners as they found the ultra-modern design too stark and demanded that the elevation be softened with Tudor timber work! Thankfully Morgan refused to comply and Bournemouth's loss became Highgate's gain.

St. Olaf House,, Harry Stuart Goodhart-Rendel, 1928-32. 
The London Bridge area on the south side of the Thames is known for its famous station, proximity to Borough Market and it's historical connections to the river. It should also be known for St. Olaf House, the art deco building at 27 Tooley Street. Designed by architect Harry Stuart Goodhart-Rendel it was built between 1928 and 1932 for the Hay's Wharf Company which operated wharves and warehouses along the Thames.

Six storeys high, it is built on a steel frame and clad in white Portland stone, which coupled with the interesting window design makes for a striking facade. There are wide oriel bay windows for four storeys above the ground floor entrance bay and these are topped by five small square windows on the fifth floor. This is in turn topped by a decorative parapet. The white frontage is relived by the name of the building set out in long, slim gilt art deco lettering above the entrance bay as well as above a smaller entrance to the side. The main entrance hall is at the rear. Frank Dobson (the sculptor not the politician) was responsible for the figure of St. Olaf King of Norway which can be seen from Tooley Street as well as for a series of panels on the river side. Listed at Grade II in 1971, St. Olaf House is now used as consulting rooms and for administrative work by the London Bridge Private Hospital.

The former Hay's Wharf Company office is one of the first buildings seen when exiting London Bridge Station on the Tooley Street side. Those large windows on the facade were designed to maximise natural light but today they also reflect contemporary London. If you look carefully at the picture below, it is possible to see the reflection of its better known neighbour - The Shard, completed in 2013 and attracting visitors from all over the world.

Reflection of the Shard in St. Olaf House windows
Former Curry's building, F.E. Simkins, 1936.
My fifth choice for this post takes us across London to what was once known as London's Golden Mile. The Great West Road north of Brentford was opened in 1925 to bypass the then traffic clogged Brentford High Street. The new road was soon flanked by factories, several of them in the art deco style. A number of these beauties remain. My favourite is the former Curry's distribution centre, from where stock was sent to heir chain of shops. It is now occupied by the international marketing company JC Decaux. Built in 1936 and designed by F.E. Simkins it was sensitively restored by Norman Foster in 1997 having achieved Grade II listed status in 1994.

It is built from reinforced concrete with a partial steel frame and a flat roof. The red metal window frames are a vivid contrast to the plain white facade which leans in to the central clock tower. As with many deco buildings, this one has a beautiful entrance with a red door frame and white rounded canopy. When I visited in the summer of 2016, works were being carried out to the facade and this together with a decidedly unfriendly workman made it difficult to get the best pictures. I promised myself I would return and try again - something for spring 2018 I think.

You might also like - Mumbai Art Deco

Thursday, 30 November 2017

Streatham - Art Deco Capital of South London

During the 1930's, Streatham in south London developed into one of the city's main entertainment areas with cinemas, theatres and dance halls opening and attracting a clientele from a wide area.  Although unlike Metroland on London's periphery, the tube never made it here, large numbers of mansion blocks were built, providing luxurious accommodation with all modern conveniences to attract the well-off. Many of these new homes were designed in the art deco and modernist styles and several of them survive today. 

I lived and worked in and around this area for a number of years in the 1990's but only recently discovered just how rich it is in art deco and modernism. Like many other parts of London, Streatham suffered hard times from the 1970's onwards, losing its much loved department store, Pratts (a branch of John Lewis), several cinemas and theatres and many of its better quality shops. It acquired a bad reputation for street prostitution as well as being famous at the upper end of the same industry through the antics of Cynthia Payne, who amongst other things is said to have accepted luncheon vouchers as payment for the services of her employees. Streatham could also boast  many other famous residents including horror writer Dennis Wheatley, super model Naomi Campbell, actors Simon Callow, June Whitfield and Roger Moore and occultist Aleister Crowley. An eclectic list indeed.

Today things seem to be improving again. There are many new, good quality cafes and restaurants. There is an excellent live jazz venue, The Hideaway, which attracts top flight acts, and the area has managed to both keep its library and to acquire a new leisure centre complete with swimming pool and skating rink. And of course, there is the art deco...

Pullman Court, F. Gibberd, 1935.
Pullman Court is one of London's best examples of modernist architecture. Influenced by the Bauhaus movement, it was designed by Frederick Gibberd and completed in 1935. It is best admired from the opposite side of the High Road from where there is a clear view of the upper levels, the front blocks with their glazed towers and the iconic lettering carrying the building's name. Pullman Court is a series of units, all of which are painted a pristine white which together with the small balconies that many of the flats have, gives the place a very cosmopolitan feeling. It would not look out of place in the sunshine of Tel-Aviv or the winter sun of Scandinavia.

Many of the residential blocks built in Streatham during the 1930's boasted ultra modern living, none more so than Pullman Court. An advertisement in the January 1938 programme of the Streatham Hill Theatre extolls the benefits of life in Gibberd's modernist paradise " Uniformed porters, electric lifts, separate lifts for tradesmen...unusual social amenities are available comprising a Resident's Club with Billiards Room, Table Tennis and facilities for Dancing and Refreshments as well as a fine private swimming pool".  Note the separate entrance for tradesmen, something that was quite common during the 1930's, emphasising class differences and ensuring we all knew our place. Note also the gratuitous use of upper case in the advert. Flats were advertised at £80 per annum for 2 rooms or £110 per annum for 3-4 rooms, both options with kitchen, bathroom and furniture designed by the architect.  Expect to pay rather more than that now. In 2013, a two bedroom flat was offered for rental at £300 per week. Pullman Court is listed at Grade II star.

Pullman Court, F. Gibberd, 1935.
Corner Fielde stands on the junction of Streatham High Road and Wavertree Road.  This huge apartment block was designed by R. Toms and Partners and was completed in 1937. This Mayfair based architectural firm was prolific during the 1930's, designing several residential buildings both here and across London. The  Corner Fielde flats were spacious and included central heating, constant hot water, fridges and an electric lift. The building was advertised as "Mayfair in Streatham", a reference perhaps to the architects as well as emphasising quality and modernity and most of all, luxury. The exterior features a number of art deco elements. These include a decorative freeze between the third and fourth floors and use of the Broadway typeface to display the block's name over the doorways. There is also what may be an original deco light fitting, or at least in the style of to the right of the Wavertree Road entrance. The advertising for Corner Fielde claimed that the flats were "...unusually spacious, luxurious accommodation planned on sun trap lines..." This reference to sun trap lines is supported by the metal cased Crittal windows designed to make the flats as light as possible.

Corner Fielde, R.Toms & Partners, 1937.

Streatleigh Court occupies an imposing position where the High Road meets Leigham Court Road. The rather plain facade on the High Road is relieved by some decorative brickwork beneath the bay windows but the main external features are the four balconies on the northern corner. Their shape and location at the narrow end of the building give them a nautical appearance in line with the art deco ocean liner motif. The name of the building is set out over the middle two balconies. An earlier structure of the same name stood on this site and was replaced in 1937 by the current Streatleigh Court, designed by Harrington's Architects. The ground floor is given over to commercial use and from 1938 until 1993 was home to the South Metropolitan Gas Company which later became British Gas.

Streatleigh Court, Harrington's Architects, 1937.
Leigham Hall decorative panel, R. Toms & Partners, c1936.
Leigham Hall is another very large apartment block, completed circa 1936 and designed by our old friends R. Toms and Partners for the Bell Property Trust. Similar to Corner Fielde, the flats boasted constant hot water, tiled bathrooms and electric lifts whilst Leigham Hall residents also had the benefit of a private swimming pool. I particularly like the external doors with their stylish ironwork and wonderful leaping gazelles. The end corner of the block, where the High Road meets Leigham Avenue is also worth a look as it features decorative panels using deco motifs.

Leigham Hall, door detail, R. Toms and Partners, c1936.
The High is a little further along the High Road from Leigham Court. It is the largest of Streatham's inter-war residential developments and comprises 174 flats across five large blocks that sit above commercial units,  as well as in a long continuous block at the rear.  Yet another R. Toms and Partners project commissioned by Bell Property, the High was completed in 1937. Residents here also had access to a private swimming pool and there are garages to the rear. Both facilities are still in use. As with Streatham's other large residential developments from this period, the exterior is restrained with some decorative details in the brickwork and on the bay windows to relieve the simplicity. However, the external doorways are magnificent. The glazing has decorative metalwork whilst the external lobby floor has the building's name in black tiles on a white tiled background. The name is in turn reflected by the metalwork at the bottom of the doors. Fabulous.

The High, R. Toms and Partners, 1937.
Elephant details, former Burton's, Harry Wilson, 1932.
Montague Burton of Burton's gentlemen's outfitters opened a store at 103-105 Streatham High Road in 1932. Architect Harry Wilson designed many of Burton's stores including this one which has a spectacular art deco facade above ground floor level. Burton's is long gone and the ground floor is now a pub with a "modernised" and incongruous facade, but the upper levels retain their original features with a series of stylised elephant heads and trunks as well as a series of zigzag decorative details. There are also two commemorative stones, dated 1932 noting the opening of the shop by Stanley Howard Burton and Barbara Jessie Burton.

Montague Burton was born Meshe Osinsky in 1885 in Kaunas, now part of Lithuania, coming to Britain in 1900, fleeing pogroms in the then Russian Empire. He developed a taste for art deco architecture which became the Burton's house style. His interest was clearly serious as he acquired Harry Wilson's architecture practice in the early 1930's and must be one of a very few retailers to have had his own architectural department.

Former Burton's, Harry Wilson, 1932.
Still with the rag trade, Streatham had several drapers in the 1930's. These included Sharman's at numbers 180-182 on the High Road, now occupied by W.H. Smith. The facade dates from 1929 and has simple Art Deco motifs surrounding the two large windows and a stepped pediment where it is still just about possible to make out the original store name. One former customer reminisces about seeing "piles of salmon pink corsets and nylons at 2/ 11d three farthings". A bit before even my time but fascinating none the less.

Former Sharman's drapers, architect not known, circa 1929.
As mentioned earlier, this was a major entertainment destination during the 1930's and the former Regal Cinema at 5 Streatham High Road would have been one of the main attractions. Built in 1938 it was designed by William Riddell Glen who designed several cinemas around the country including the still functioning Genesis in east London. The single screen auditorium could seat 1232 in the stalls with a further 730 in the circle. Deco elements of the interior design included a double staircase leading to the circle foyer and backlit niches containing stylised figurines in the auditorium. The first screenings took place on November 14th 1938 when Vivacious Lady starring Ginger Rogers and Prison Farm with Shirley Ross were shown.

Over the years, ownership of the cinema passed to the ABC group, then to Cannon and back to ABC, before closure in 2000. The cinema then stood empty for some time and suffered damage from squatters and a series of fires. Despite the facade being listed at Grade II status in 1998, the auditorium and stage were demolished in 2007 and flats built in their place. The remaining ground floor area now contains a carpet shop and a gym. The large faience tiles and black decorative pillars on the facade have been retained as has a side tower, hinting at the Regal's original splendour.

Former Regal Cinema, W.R. Glen, 1938.
Former South London Press building, architect not known, opened 1939.
The South London Press newspaper had its headquarters in Streatham until 2013 when it moved to Beckenham. The newspaper operated from a purpose built structure in Leigham Court Road, built  between 1935 and 1939. The restrained art deco style includes a central crowned tower with a glazed stairwell whilst the horizontal and vertical lines are emphasised with cornices. The windows are a key feature, designed to maximise natural light in line with 1930's ideas about improving the working environment. The upper levels are now converted to residential use and an additional storey has been added, spoiling the original lines and prominence of the tower. The ground floor remains in commercial use. There is a small cafe opposite - Cafe Mes Amis which serves good coffee and sometimes has Nata - those delicious Portuguese custard tarts as well as more substantial offerings. 

The majority of the buildings featured in this post can be found along Streatham High Road, sometimes claimed as the longest high road in Europe (although it isn't). There are several more art deco buildings here both on the High Road and in the streets that run off it. Architecture enthusiasts are encouraged to visit and see for themselves as well as to sample one, or more, of the excellent new cafes. 

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