Spatial Composition

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Type A: Three or Four-storey blocks of modernist flats ; two- or three bedroom, with direct access in pairs. Type B: Three-storey blocks of modernist flats: Single-bedroom and bed-sitting room with gallery access. Type C: Two-storey blocks of two-bedroom flatted houses, each with a small private garden. Type D: Two-storey terrace houses, with three bedrooms and private garden. Type E: Terrace of single-storey bungalows with bed recess; these are for old people,

Figure 8: Typology Map Source: Authors Own adapted from maps obtained from EDINA Digimap Service

Somerford Grove was an early, if not the first, example of what was later coined mixed development.21 Unlike previous interwar council housing schemes dominated by two- and threebed family housing, Somerford Grove consisted of a range of different dwellings to suit the cities changing demographics.22 Although this change came from a social need, with over a third of hackney residents on the waiting list only requiring one bedroom23, Gibbered saw this as an opportunity to exercise his thoughts on aesthetics of variety he had developed over the war period.24

Becoming increasingly critical of the homogeneity he saw in many modernist schemes. Often consisting of the repetition of one form or block type. “No matter how good the design, a large scheme composed of only one of these forms of development will be a dull environment to live in, through the over-all sameness of the scene.”25 Gibbered saw the solution in the introduction of variety, inspired by vernacular towns he had analysed. Their variety and complexity developed over time through competing force of multiple actors designing to different needs. Concluding that this form of piecemeal development “even though it may have little unity, is more alive and interesting than many planned areas.” 26

Gibbered aiming to replicate a piecemeal aesthetic design 5 different typologies to form Somerford Grove. The site considered of a mix of: "Type A: Three or Four-storey blocks of modernist flats ; two- or three bedroom, with direct access in pairs. Type B: Three-storey blocks of modernist flats: Single-bedroom and bed-sitting room with gallery access. Type C: Two-storey blocks of two-bedroom flatted houses, each with a small private garden. Type D: Two-storey terrace houses, with three bedrooms and private garden. Type E: Terrace of single-storey bungalows with bed recess; these are for old people, "27

(They typologies have be categorised into types so they can later be referred to with more ease)

To add to the variety and complexity the differing housing typologies were arranged to establish a series of closes and courtyards, each with their own character.28 The closes although intimate never consist of more than one closed corner to allow for vistas across the site, to obviate any feeling that the closes are culs-de-sac or dead ends.29 The Vistas are generally diagonal between buildings of a different character, ensuring at no point is one typology isolated, each view a diverse composition.30 Gibbered is able to achieve a series of changing compositions which, although having an over-all continuity and coherence, sustain and excite our interest by contrast and surprise as we move through the site, with little effort needed to be taken by the viewer.

These compositions echo the ideas of the picturesque movement, specially Uwin’s Hampstead garden suburb, that Gibbered had notably studied.31 Gibbered had not replicated these ideas verbatim, critical of their density and “dead end” quality derived from Cul-de-sac's, but greatly admired the Uwin's compositions.32 Both draw from the writing of Camilio Site who treated town planning as a series of enclosed spaces and carefully composed 'street pictures’.33 34

Beside variety in composition, Gibbered was also very interested in providing a balance between enclosure and connection he referred to this as a 'sense of urbaninity'. Critical of Unwins translation of Camillo Sitte ideas, He believed this sense of urbanity was lost in Uwins Hampstead Garden Suburb writing that in particular, its main squares were “far too large and open for the buildings surrounding them”.35 In the same book, he wavered the same criticism to modernist developments, who's tall block require vast street widths.36 Gibberd was able to best achieves this In the central pedestrianised precinct. Narrow paths flanked by the two low rise flat typologies, the space feels very intimate, yet connected as diagonal views out provided connection to the rest of the estate.

Figure 9: Contrasting Typologies Source: Authors Own

Figure 10: Contrasting Typologies Source: Authors Own

Figure 11: Sense of urbanity Source: Authors Own