Category Archives: Journalism

Talking power station with Robert Elms

I was invited on Robert Elms’ Radio London show yesterday to talk about Battersea Power Station.

You can hear me here, from around 1 hr 39 minutes. Thanks to Robert’s team for inviting me on, and for Robert asking such excellent questions. I really enjoyed the discussion.

Listening to Robert Elms’s show in the late 1990s was fundamental to developing my fascination with London so this was quite an exciting event for me. In many ways, the nature of my love for London was more influenced by Elms than it was the likes of Sinclair or Ackroyd.

Incidentally, this was also the first time I had visited the BBC at Portland Place since 1999, when I was one of a handful of journalists invited to see a demonstration of TIVO by the BBC’s Head Of Future, who paused and then continued watching a live weather forecast. Many of us believed we had witnessed a form of witchcraft; one reporter even accused him of manipulating a VHS tape.

I also had a piece in Time Out this week, listing ten things you didn’t know about Battersea Power Station. You can read that here.

 

 

 

 

Getting battered at the Half Moon

With the Half Moon in the news so much these days – and about to feature in its own book – I thought I’d reprint this article I wrote in 2002 for Time Out when I went sparring in the gym above the pub. I’ve included a couple of grainy photographs of me flailing wildly, sweating ringlets asunder, but cannot be responsible for any harm these may cause the viewer.

He comes at you again, all padding and muscle like a Michelin man filled with concrete. The ropes dig into your back as he bellows in your air – “Hit me! Give me what you’ve got!” – but even if you could raise your tortured arms there’s no room to swing a punch. Sweat spills down your face and your longs flip-flop as they grab for air. Then suddenly there’s space. “Jab!” he shouts. And you do, smacking his raised glove at full pelt. “Cross, jab, cross!” One, two, three! Bam, bam, bam! Then he’s down your throat again, pushing you back and forcing a clinch. You can’t see, you can’t move, you can barely breathe. It’s exhausting. It’s exhilarating.

gympigs-ring

The setting is a rough-and-ready gym above a nondescript pub in Herne Hill. This is where Clinton McKenzie, former British and Commonwealth light-welterweight champion, runs a “boxercise” class that he boasts “is the closest thing to getting in the professional ring”. McKenzie, the brother of former world champion Duke and father of footballer Leon, has been here for seven years, ever since he found something that satisfied after the messy couple of years that followed his retirement from the game. The place was derelict when he began. Now, he says, the demand is such that he may need to close the membership for a couple of months.

 

You can see the appeal. First, the gym is one of the least threatening you’re ever likely to walk into. For a venue in which so much energy is devoted to hitting things, there’s a surprising lack of testosterone in the air. Such is the unintimidating atmosphere that a fair number of women take part, as partial to a workout and punch-up as anybody else. When you’re in the ring, fellow boxercisers yell encouragement. They help tape up your knuckles. They don’t laugh when you trip over the skipping rope.

box

As affable outside the ring as he is dominant inside, McKenzie tailors the sessions to individual needs and interests. Mine went thus: 15 minutes on the exercise bike; 12 minutes on the punchbag; one minute failing to skip; an eternity in the ring; 20 minutes trying not to throw up; 10 minutes warm down. Make no mistake, this is tough work. The punchbag is hard and heavy, and pummelling it for four rounds of three minutes is punishing. Our arms aren’t used to that kind of treatment, the shudder of connection as you wallop and counter-wallop the swaying sack. First time out, boosted by McKenzie’s encouragement and ignoring his warnings, chances are you’ll overdo it and punch yourself out. With the adrenalin pumping, it’s difficult not to.

It’s in the ring that the real stuff happens. You feel like a champ as you tighten your bandages, pull on the gloves and step into the ring. McKenzie waits. He’s in padding that covers his chest and stomach and wears sparring gloves but has not intention of simply making himself a target. For the first minute or so he shouts instructions – jab, cross, work the body, switch stance, put together combinations – but every now and then you get a cuff round the head, a reminder of where you are. Then he starts forcing you back, into corners, against the ropes, using sheer mass and presence to push you into tight spots where you have to gather all your wit and strength to stay mobile. There’s just enough pressure to make you understand what it means to enter a ring for real.

box2

 

“I like to give people a feel of what it’s like for a pro, the hard work you’ve got to put in to survive,” he says. Trying to punch, move and think at the same time takes considerable effort and – the occasional tap on the top of the head notwithstanding – here you don’t even have to worry about defence. By the end you’re reeling, vision blurred, stomach hollow, knuckles raw, arms leaden. The bell is blessed relief. And that was just one round.

“Most gyms are just machines,” says McKenzie. “Don’t get me wrong, machines are great for exercise. But there’s something special about pitting yourself against somebody else, doing it one-on-one. It makes people try that bit harder. That’s what the regulars love about this place. And the fact they are getting in the ring with a champion gives them a buzz.”

And a buzz there undeniably is. Even those of a non-violent persuasion will relish the safe, healthy environment that offers just enough whiff of danger to get the heart pumping. “If boxing ever goes under, this is what people will be turning to so they can find out what it used to be like,” says McKenzie. Sure, he’s exaggerating, but as you pound the bag or jink through the ropes, you’ll have to bite your lip to stop humming the theme from Rocky. It might not be the real thing but it’ll do champ, it’ll do.

Clinton is still running boxercise classes from a new venue in Tulse Hill. Details here

 

 

 

 

Dream City – London’s unbuilt Edwardian theme park

I have a post on Londonist about Dream City, a theme park concept cooked up in 1907 by an American developer for a disused waterworks, a site that was later occupied by Battersea Power Station.

You can read the full story here.

bl19982.tif

Dream City

The unbuilt Dream City is also the starting point for Alice May Williams’ short film about Battersea Power Station called Dream City: More, Better Sooner produced by the Film And Video Umbrella. The fvu have organised a talk on Friday (April 15) at the Battersea site of the Royal College of Arts by Owen Hatherley called Monetising The Ruin: Batterseas Old And New.

I will be attending the lecture and also selling copies of my book Up In Smoke: The Failed Dreams Of Battersea Power Station.

Secret London: South London’s lost canals

I wrote this piece in 2015 for the first issue of Waterfront magazine.

Some of the best secrets are hidden in plain sight. You don’t find them by exploring scruffy back streets and muddy fields, they are standing right in front of you, requiring only a translator to make sense of them. One sits in Burgess Park in Camberwell, ignored by cyclists, dogwalkers and joggers seeking respite from the Walworth Road, one of South London’s busiest byways. It takes the form of a pretty black-and-red iron footbridge with thick brick stanchions and strong stone steps straddling the path. It doesn’t serve any specific function – there’s nothing that needs to be crossed – so is known locally as the “bridge to nowhere”, but this was once a bridge with a purpose. It was built in 1906 to cross the Grand Surrey Canal, one of south-east London’s two lost canals. The park was once a busy industrial basin of wharves and warehouses but over time, the canal was abandoned, closed, filled in and forgotten. Soon, only the bridge remained, a relic or totem of this land’s previous life.

IMG00120-20120814-1050

Like many canals, the Grand Surrey was opened in the brief period between the onset of urban industrialisation and the arrival of railways. It began at Surrey Commercial Dock (now Surrey Quays), a 300-acre system of nine docks two miles east of London Bridge. The original plan was for the Surrey Canal Company to cut a canal from this starting point at Rotherhithe through the south London suburbs. From the main canal, branches would peel off, feeding significant towns on the way south. The object was to create a fast-moving route that could bring produce from Surrey farms into London. An Act was granted in 1801 to build as far as Mitcham, with branches to Deptford, Peckham, Borough and Vauxhall.

At the same time, permission for a second canal was granted. The Croydon Canal was originally going to be its own entity but the Grand Surrey Canal provided a convenient meeting point, and – after some negotiation – the two navigations joined at New Cross. This canal was intended to reach Epsom, but when it opened in 1809 in a ceremony featuring decorated barges, a 21-gun salute and a special song (“Long down its fair stream may the rich vessel glide; and the Croydon Canal be of England the pride”) it stalled at Croydon, having passed through 28 locks from the junction with the Grand Surrey Canal through Honor Oak, Sydenham and Norwood. Nonetheless, it was described by The Times as “one of the highest and best constructed canals in England” and the owners talked about extending it to Portsmouth. Plans for the Grand Surrey also proved over-ambitious, and when it opened in 1807 it went only as far as the Old Kent Road. It reached Camberwell in 1809 and branched off to Peckham in 1826, but got no further.

dooswharf

There are several bucolic illustrations of both canals, presenting them as splendid streams surrounded by countryside. At the opening of the Croydon Canal, a reporter wrote of “finding themselves gliding through the deepest recesses of the forest, where nothing met the eye but the elegant winding of the clear and still canal, and its border adorned by a profusion of trees, of which the beauty was heightened by the tint of autumn.” In 1811, the Grand Surrey Canal was peaceful enough to be used for bathing, causing one Camberwell resident to write a furious letter to The Times objecting to the “indecency” and “extreme offensiveness to females in so public a situation”. Soon after, ‘bank rangers’ – a sort of private police force – were appointed to keep an eye out for lewd or criminal behaviour.

Quickly, though, the landscape changed. Submitted to parliament alongside the proposals for the two canals, was another for the Surrey Iron Railway, which would become the country’s first public railway in 1803, linking Wandsworth to Croydon via Mitcham. Using carriages pulled by horses over iron tracks, the intention was to create an integrated transport network for the expanding suburbs, but ultimately it put the two technologies in direct competition. At first, they cohabited and connected, and the canal even proved superior, but as steam trains arrived, the canals lost any edge. Croydon Canal’s success was further hindered by its expensive, time-consuming locks and the company could tell where things were headed. The canal was dead by 1836, the first in the country to be closed by parliament. The land was purchased by the London And Croydon Railway, who built their line largely alongside the old canal and turned the basin into West Croydon station.

The Grand Surrey Canal was spared such a fate, even if it was to never fulfil the bravura plans made at the outset. Initially the canal was intended to transport numerous goods – the 1801 Act set out rates for freestone, limestone, chalk, bricks, slates, tiles, corn, hay, straw, faggots, dung, manure, stones, clay, cattle, calves, sheep, swine, lime, timber, hemp, tin, bark, iron-stone, pig-iron, pig-lead, coal, charcoal, coke, culm, flour, wheat, barley, oats, beans, peas, malt, potatoes, hops and fruit – but instead of becoming a vibrant link between garden suburbs and London docks, the canal was more like a gigantic wharf, an extension of the Surrey docks lined by warehouses, factories, yards and depots. The canal nonetheless became a useful part of the industrial infrastructure, drawing cargo from all over the world – including a 4ft snake from South America that was fished out the canal at Peckham in 1932 by an angler who at first believed he’d nabbed a particularly fine eel. The industry was largely dirty and unglamorous with numerous timber yards, but there were also R White’s, manufacturers of lemonade, and Edison-Bell, who made 78rpm records and had a recording studio on the premises.

After the Second World War, decline set in. The increase in road traffic offered tougher competition even than rail, while changes in freight transportation threatened the docks themselves. The canal closed in stages from the 1940s. The basin at Camberwell was first to be abandoned, becoming a playground for children, who went fishing for sticklebacks or tore doors off bombed-out houses to sail down the stagnant canal as rafts. Children determined their local sympathies by which side of the bridge they lived.

The bridge was still surrounded by the straggling detritus of light industry, but fears that children would drown – indeed, The Times reported more than a dozen had met this fate since the war, as several had before it – led to the area being cleared in 1974 and replaced by Burgess Park. The canal’s route was turned into a pathway and the bridge retained as a momento. There are further princely bridges on the Peckham arm of the canal, at Willowbrook Road and Commercial Way, while the Peckham basin is now the site of Peckham library. Nearby, a sliver of park connecting Burgess Park to Peckham High Street is known as the Surrey Linear Canal Park, presumably to confuse new arrivals. Elsewhere, there are further pointers: bits of wall, ghosts of towpaths, mooring rings, milestones, and in a park reclaimed from the old Russia Dock in Surrey Quays, a large amount of quayside.

One of the most interesting survivors is a rusting round bollard under a bridge near the junction of the Surrey Canal Road and Mercury Way in New Cross, once the meeting point of the Grand Surrey and Croydon Canals. Embedded in the grassy embankment, it looks as if it has been dropped from the heavens. Little of the Croydon Canal remains, although diligent historians have traced shadows of its passage in the topology of the land between New Cross and Croydon. Some tiny sections are extant in Dacres Wood, a small nature reserve in Forest Hill, and Betts Park in Anerley. The old reservoir in Norwood has been transformed into South Norwood Lake.

There is a strong sense here of what might have been. The Croydon Canal’s life was too brief, and too quickly swallowed by the dramatic forces leading to the rapid urbanisation of south London, to be saved, but the fate of the Great Surrey Canal is not so easily forgivable. Its potential was not unknown. In the 1960s, trip boats from Little Venice would take extended tours across the Thames into the depths of Peckham and Camberwell, and even in the 1970s, some insisted the canal should be saved. One report in 1971 noted the increasingly popularity of the Regent’s Canal and pondered whether similar could yet happen to “the poor, ugly Surrey Canal… [which] had the misfortune to run south of the river.” The author admitted there was an image problem: “Its waters are polluted and filled with rubbish and hunks of wood. Its banks are closed to the public and lined with disused factories and unkempt grass. To many local people it is just three miles of stinking water, which has to be dredged every time a child goes missing.” But should the drastic solution of eradication proposed by Southwark and the Port Of London Authority go unchallenged? “Suggest any redevelopment of Little Venice and fashionable owner-occupiers besiege the local town hall,” he wrote. “Down south of the river, however, they apparently order matters differently. Two public authorities have quietly decided between them to scrub off the map one of South London’s most precious potential assets.” And so disappeared the Grand Surrey Canal, not so much a lost secret as a missed opportunity.

Further reading: http://www.bridgetonowhere.friendsofburgesspark.org.uk/ and http://www.londoncanals.uk/

London’s latest museum – Jimi Hendrix’s Mayfair flat

This is a piece I wrote for Eurostar about the conversion of Jimi Hendix’s Mayfair flat into London’s first historic house dedicated to a rock star (a small exhibition was held in the flat in 2010). Interestingly, even before the death of David Bowie, the museum’s curators were concerned the flat would be turned into a shrine by fans.

The museum is a strong addition to London’s cultural scene, filling a definite blank space. It begins with an informative timeline of Hendrix’s life focusing on his time in London, and then moves into this charming and evocative recreation of his tiny bedroom, which is both ostentatious yet surprisingly spartan. 

IMG_5296

Hendrix’s reconstructed bedroom, with former girlfriend Kathy Etchingham

When Barrie Wentzell photographed Jimi Hendrix at the rock star’s London flat in 1968, neither of them imagined that the colourful bedroom would one day be transformed into a museum. “I photographed him for Melody Maker,” says Wentzell. “It seemed so small when I went back recently. He’d have found it hilarious that it’s being turned into a museum.” Hendrix moved into 23 Brook Street in January 1968 with his girlfriend Kathy Etchingham, using it as a base to explore London as well as a space to conduct interviews and hang out with fellow musicians – George Harrison was one of those who stayed overnight on a camp bed. Since 2001, the flat was used as offices by the Handel House Museum who are located at the 18th-century composer’s old home next door at No 25. The entire space is now being renamed Hendrix & Handel In London, and Hendrix’s flat will open to the public in February 2016.

Hendrix arrived in London in September 1966 and began playing shows on his first night, immediately attracting the attention of a London music establishment who had seen or heard nothing like him. Incendiary, transformative early gigs in tiny West End clubs were witnessed by the likes of Eric Clapton, Pete Townshend and The Beatles. “All those guys, they played the blues but Hendrix had taken it to a different level,” says Wentzell. “He told me once, ‘Sometimes I play the guitar and sometimes the guitar plays me’. But he was very humble and soft-spoken, he kind of under-rated himself. He would talk about how great Clapton was and Clapton said the same about him. They had real love for each other.”

London boasted a powerful music scene packed into a small corner of the West End, and word about Hendrix soon spread. He became a star and as a result, he loved the city. Although he’d met Etchingham on his first day in London, he spent much of those early months moving between flats and hotels. “He moved around an awful lot and had lots of girlfriends who all thought they were the one,” recalls journalist Chris Welch, who interviewed Hendrix several times. Etchingham and Hendrix eventually moved in together, paying £30 a week for the pokey one-bed Mayfair apartment above a restaurant called Mr Love. Hendrix called it “the first real home of my own” and helped select ostentatious decorations of bright fabrics, peacock feathers, bric-a-brac and a rubber rat. The bedroom, which is where most of the entertaining took place, is being recreated for the museum after curators identified and tracked down around 70 items of furniture and fittings. Other exhibits include clothes, records and guitars as well as a timeline exploring Hendrix’ pivotal London months.

Although Hendrix spent his time in Brook Street enjoying some level of domesticity – he played Risk and watched Coronation Street – he also threw himself into the world of Swinging London, which was right on his doorstep. Promotors, agents, publicists, music papers, clubs, guitar shops, studios and fashion boutiques were all based in Mayfair and Soho. “He was in the best place to be,” says Welch. “Bands from all over the world converged on London and it was still the hippie era so if you were going to be accepted for being unusual anywhere it was the West End. He was adopted by Londoners very quickly.” Wentzell agrees. “There was a lot of love for Jimi,” he says. “He was only around for four years and he changed the world, he really did.”

Hendrix, who died in London in September 1970, always loved the flat’s connection to Handel – indeed, he believed he was living in Handel’s old home as Handel’s blue plaque was on the wall separating the two properties. “I remember him saying that he got this vibe of music from Handel and we joked about how he’d like to have jammed with him,” says Wentzell. “I guess now he is.”

Handel & Hendrix In London, 23-25 Brook Street. Opens on 10 February 2016.

Navvies, landlords and protest

I’ve written three pieces elsewhere recently.

For Londonist, I wrote about the battle in Herne Hill between independent shops and the local landowner, Dulwich Estates, who some feel are taking more away from the community than they put in. A protest last week saw several hundred Herne Hillians march from the station to the local toy ship, which was forced out by a huge increase in rent. Several other tenants told me they feared they’d also be forced to move in the next year.

m5746

 

For Apollo, I wrote about a new exhibition of posters from Berkeley in 1970, when students protested about the ongoing Vietnam War and also the deaths of four student protesters on a campus in Kent State.

 

And for Waterfront, I wrote about the life of the navvies in London. I was intrigued by the urban legend that the four pubs in Camden with castle in the title – the Edinboro, Windsor, Dublin and Pembroke – were built for the navvies, to ensure separate nationalities drank apart and didn’t scrap. It quickly became apparent that the story wasn’t true, but as I researched the life of the navvies, I began to understand how the myth was raised and also learnt a lot about this tough breed of migrant worker.

“I loved the brutality of it”: Suede and London

I wrote about Suede for the current issue of Uncut. This was something of a revelation for me, as I was able to remind myself how excited I was when I first heard Suede – I remember playing “Animal Nitrate” over and over again in my bedroom, thinking that I’d finally discovered a band I loved as much as The Smiths. Before interviewing the band, I went to see them play at the Roundhouse and all of that old energy was still there, and I was just as thrilled as I had been at 16.

One angle covered in wide-ranging interviews with Brett Anderson, Mat Osman and Neil Codling was the importance of London to the Suede aesthetic – this was a band that even renamed themselves The London Suede, albeit under duress, for their American releases.

suede.jpg

When the band were formed, Osman and Anderson shared a flat on Hilever Road in White City “on the border with Notting Hill – bohemia one way, estates the other,” Osman said, and Suede’s music came to occupy this very same sort of space, the sort of London written about by Patrick Hamilton, Dylan Thomas, Gerald Kersh and Roger Westerby in those novels about outsiders arriving in London and being instantly swallowed by vice and excitement. Doing something similar around this time was the TV version of Hanif Kureishi’s Buddha Of Suburbia, with a soundtrack by David Bowie – the combination of Suede and Kureishi is what led me to Bowie.

“London was a place where you can be what you want,” says Codling. “You can disappear, you can embrace any subculture, you can reinvent yourself and glamour is a possibility inherent in that.”

Anderson didn’t deny any of this. “I romanticised what London was,” he said. “I lived in a bit of a film fantasy. I loved the brutality of it, the loneliness and the hardness of it all. I really responded to that. But this is what we were living. I was part of this world I was writing about. I’ve always tried to find the romance in any situation I’ve been in and that happened to be the situation I was in. I’ve always loved art that deals with the prosaic. The Smiths aesthetic, I found that very powerful, ‘the riches of the poor’. There’s beauty in the brutality.”

 

Anderson told me he’s still inspired by London, often cycling the towpath from his home to West London to Camden, even if it doesn’t directly appear on the band’s new album. The excellent Night Thoughts is instead preoccupied by those unnerving concerns about children and fatherhood that keep Anderson – and myself – awake at night.

“I refute the tortured artist clichés, it’s bullshit, a lazy misunderstanding of what creativity is,” he said. “It’s not expected of authors and film-makers, Michael Haneke always seems very balance and his films are genius of discomfort. For me, a writer is finding those moments of friction, and those can occur in any existence, in any relationship, no matter how stable or content. There are always misunderstandings and moments of friction and this is what I write about.”

 

It’s all glass here now – the taming of St Giles and death of the West End

I have a piece in today’s Guardian about the disappearing London district of St Giles, for centuries a hive of villainy and low entertainment but which is now, finally, being aggressively domesticated by developers with no love of vernacular architecture or fun.

Last year, while walking round this junction of Tottenham Court Road, Charing Cross Road and Oxford Street, I was assailed by pneumatic drills, wrecking balls and nostalgia. This used to be my territory, where I’d play after working at Time Out on Tottenham Court Road, and now much of it was unrecognisable. The cafes, bars, restaurants and clubs that I’d known so well were gone. But this wasn’t simply a case of the passage of time and changing fashion causing old haunts close down – that I could accept, more or less. Here the buildings themselves had been pulled apart so nothing new or interesting could take their place.

Even Time Out‘s old office had been demolished, developers deciding that rather do any actual developing and modernise the entirely usable existing structure, it was easier to knock it down and start again. This was happening over and over, wherever I looked. It was like armaggedon, a building site several miles square, pouring concrete over memories and salting fertile ground.

With this wholesale demolition, the character of an entire area was being irrevocably and deliberately erased. People have been saying the West End was dead for decades, but in the borderland of St Giles something of the old  Soho and Covent Garden still lingered. Now, it’s gone. If it’s fun you want, give Zone One a skip. It’s all glass here now.

IMG_4940 IMG_4929 IMG_4932 IMG_4938 IMG_4932 IMG_4927 IMG_4925 IMG_4923

 

 

 

Paul Weller in Uncut

I’ve written the cover story for the latest issue of Uncut about a couple of days I spent in San Francisco with Paul Weller in October.

I enjoyed the incongruous location – Weller was staying in the Japanese district and played a country music festival at Golden Gate Park and a show at hippie landmark Fillmore West – as well as the chance to spend time backstage with Weller and his band unaccompanied by any label management or press officer.

Weller discussed his forthcoming projects, including an avant-garde film soundtrack he’s composed, and also reminisced about early tours of America with The Jam. On one occasion, he said, the band were asked to celebrate their London credentials by posing outside an English pub in Santa Monica with a double decker bus.

The_Jam_bus

I also got the chance to explore San Francisco – where I discovered ghost signs, parrots, a punk-themed restaurant called The Brixton, coyote warnings and a complete absence of cranes, billboards, pneumatic drills and the general intensive building work that blights daily life for so many Londoners.

 

The Blitz: missing buildings and false memories

While researching my recent feature on the Blitz and former bombsites in London, I was keen to find a site that had been destroyed and not yet redeveloped.

There were some tantalising leads.

Peter Larkham, professor of planning at Birmingham School of the Built Environment, provided me with an image he’d discovered years before of a derelict building on Lowndes Street, left fallow in memory of the Blitz.

Lowndes Street

“It was in the chartered surveyor professional magazine,” he explained. “The story was that it was owned by a family, bombed, and they never did anything to it in memory of a son that died in the war. Fifty years later, life had moved on, and the property came up for sale.”

It’s a compelling story but one that was difficult to confirm. The Bomb Damage Maps  showed a couple of strikes on Lowndes Street so I sent an email to Dave Walker, librarian at Kensington and Chelsea and writer of the formidable Library Time Machine blog. Dave put the query across to a colleague at Westminster, as Lowndes Street straddles the boundary between the two councils. Between the two of them, they discovered destroyed buildings at No 30 and Nos 11/12 Lowndes Street but both sites were developed by 1963. It would require further research to get to the bottom of the story as outlined by Professor Larkham and as tantalisingly revealed in the above photograph.

There was similar confusion with regard to another site. This was next to the Hat & Feathers pub on Clerkenwell Road.

Clarkenwell Road

Clarkenwell Road

According to local legend, the site had been demolished by a bomb and used as a car park ever since. For years, you could even see scraps of wallpaper from the destroyed building still attached to the neighbouring wall. The only problem was there was no record of a bomb landing anywhere near this property – itself rather extraordinary given how badly the area had been bombed. It appears that this was a false folk memory, but one that was still being shared today. In the end, I included no empty lots in my piece as I couldn’t find any that comfortably fitted the available facts.

After my piece was published, I was contacted by a photographer, Thom Atkinson. He was about to publish a book called Missing Buildings, looking at precisely this area – the missing spaces between London buildings ostensibly created by bombs. They’d even included an image of the Hat & Feathers site I’d been studying. Like me, Atkinson was intrigued with the way folk memory and evidence didn’t always correspond.

hatfeath

Photograph by Thom Atkinson

Thom said, “We came across the same sort of folklore thing a couple of times, and in a way that’s what the book is about. There’s a picture we made on Sclater Street, near Shoreditch Station, and the market traders there were talking about it being a bombsite when they were kids. When we looked at the map it didn’t quite fit their story – but they remembered it so clearly.”

There were several explanations for this, false memory being only one of them. As Thom explained, “Sometimes bombs are recorded and the site itself displays all the signs, but no building damage is shown on the LCC map. And of course the whole thing is complicated because the LCC maps only show damage during wartime – we’ve heard stories of buildings falling down or being demolished later on, because of underlying structural damage caused by the bombing – one of the guys who works in the processing lab (also a bombsite by the way!) has a house in East London with cracked foundations; the surveyor thinks they were caused by a bomb landing at the other end of the street.”

Missing Buildings is a wonderful book, showing the ghosts of London homes, many of which have long disappeared but still leave an imprint on neighbouring buildings in the form of shadows, new brickwork, girders and the spectres of chimney breasts. Others have been filled in with new buildings that stand out ridiculously against their neighbours, awkward and ugly, eternally temporary.

There are more of these spaces than you might imagine in London, but they are vanishing fast and this book is an exquisite record of the spaces that get left behind, often more by accident then design. You can buy it here.