History

Introduction

• A brief history
• Historical development of the Suburb
• A Concise History
• Growth and Change
• Henrietta Barnett's planning vision
• Unwin's town planning
• Small scale planning
• Town Planning Act
• Central Square Architecture
• St. Jude's and the Free Church
• The Institute

Small scale planning

Unwin was keen to avoid ‘monotony and conformity’ in the Suburb. He did this by planning on a variable scale, creating variety within each street, while also giving each street a distinct character. The character of each street was defined within a set of broad principles, similar to the principles of the larger scale town plan, allowing architects to design each small group of buildings within the character of the surrounding area. These distinct characters would help create "variety in the street pictures, while at the same time maintaining the general sense of unity” through design guidelines.

A typical Suburb street (if one could be said to exist) might comprise of several smaller groups of houses often in several slightly different styles, but all of them would be related to each other and the street as a whole through the use of materials, the roof height and slope, and the species of tree planted.

Unwin made sure that within each area there was a consistency in the use of materials, but that these materials were within the palette of the whole suburb, either exposed brick or off-white render or a combination of these two.

The consistent scale of a group of buildings was set by the roof heights as well as the heights and species of trees and hedges. For example a taller, larger row would be emphasised by a taller hedge and more dramatic street tress, while a small lane would be softened further with small hedges and delicate trees.

The variation of species from street to street gives the suburb a particularly charming quality when the trees bloom, coming into blossom at different times and in different colours in different roads.

The number of dormers and chimneys was also often consistent, ensuring a rhythm within the facades of a whole group, as many of the houses are visible from the twittens or allotments, the back façade is equally important.

Unwin used subtle variations in style as well as variations in grouping to create ‘pinch points’ and define groups within the street.

“The setback of three or four pairs of houses and the arrangement of a continuous green in front of them, with the proper treatment of the house at each end, which are set forward again to the building line, will of itself produce some grouping.”

These groups were arranged to create a “street picture;” Unwin paid particular attention to where groups joined, such as at bends in the road or junctions. Here the groups are sometimes orientated towards a particular view, or angled around a bend, or arranged so that a single building acts as a terminal feature.

The architects who designed the individual houses were the most prominent architects of the day, and were generally employed to design either the group or the whole road to ensure consistency of style.

“The tendency of the modern individual has been to build his house in such a way as to emphasise its detachment and difference from all its neighbours, but no beauty can arise from the mere creation of detached units: the result is bound to be monotonous and devoid of beauty.”

While this attention to detail may seem restrictive, the feeling that the whole suburb is designed along the same picturesque theme creates a real sense of place. It is this creation of place which is the focus of Unwin’s town planning principles outlined in his book “Town Planning in Practice” published in 1909, and still studied today.