Brutalism

‘So f-ing Croydon,’ was the worst insult David Bowie could think of to describe a person or thing that revolted him. ‘Less of a place, more of a punchline,’ was a recent swipe by Sue Perkins, the Croydon-born comedian who grew up at the tail end of the town’s golden era of rampant employment, ambitious cultural venues and well-endowed private schools. London’s outermost, southernmost, most populous borough is an easy target for condescension: too brash, yet too poor; too try-hard, yet too lethargic; too ambitious, yet not ambitious enough. As the Croydonian author John Grindrod has written, locals are accustomed to Croydon’s ‘very existence – our existence – provoking outrage’.

Nothing divides the British like modernist architecture. Traditionalists are suspicious of its utopian ambitions and dismiss it as ugly; proponents romanticise it, yearn for the civic principles that built it and gloss over its failings; the young see period charm in flat roofs and straight lines, while the old associate them with deprivation; the wealthy mostly avoid it — and many people have no choice but to live in it. Nearly 100 years after Le Corbusier set out his five points of modern architecture the British are still arguing about its merits, partly because we still live with so much of it: housing, offices and civic and industrial buildings. Two