The Unknown City: Contesting Architecture and Social Space

Part I: Filters
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Joe Kerr
Notes
1 Dolores Hayden, The Power of Place: Urban
Landscapes and Public History (Cambridge, Mass.:
MIT Press, 1995), p. 9.
2 M. Christine Boyer, The City of Collective
Memory: Its Historical Imagery and Architectural
Entertainments (Cambridge, Mass.: MIT Press,
1994), p. 1.
3 David Lowenthal, The Heritage Crusade and
the Spoils of History (London: Viking, 1996).
4 M. Christine Boyer, “Cities for Sale: Merchandising
History at South Street Seaport,” in
Variations on a Theme Park: The New American City
and the End of Public Space, ed. Michael Sorkin
(New York: Hill and Wang, 1992), p. 182.
5 For the idea of architecture as “mnemotechnique,”
see Anselm Haverkamp, “Ghost Machine
or Embedded Intelligence? Architexture and
Mnemotechnique,” ANY, no 15 (1996): 10–14.
6 See Joe Kerr, “Lenin’s Bust: Unlikely Allies
in Wartime London,” in Strangely Familiar: Narratives
of Architecture in the City, ed. Iain Borden,
Joe Kerr, Alicia Pivaro, and Jane Rendell (London:
Routledge, 1996), pp. 16–21.
7 Angus Calder, The Myth of the Blitz (London:
Pimlico, 1992). For a full discussion of this contentious
subject, see Philip Ziegler, “Is There a
Myth of the Blitz?” chapter 10 of London at War,
1939–1945 (London: Sinclair-Stevenson, 1995),
pp. 163–178.
8 Disgraced Monuments, 1992, video, produced
by Channel 4. Directed by Laura Mulvey with
Mark Lewis. See David Cirtis, ed., Directory of
British Film & Video Artists (Luton: Arts Council
of England, 1996), p. 223.
9 Gavin Stamp, Silent Cities (London: Royal
Institute of British Architects, 1977), p. 7.
10 The exceptions are those isolated monuments
to specific battles built by the Imperial
War Graves Commission—in Normandy and in
North Africa, for instance. See Stamp, Silent
Cities, p. 18.
11 Sassoon is quoted in ibid., p. 4.
12 George V is quoted in ibid., p. 19.
13 Walter Benjamin, “The Work of Art in the
Age of Mechanical Reproduction,” in Illuminations,
ed. Hannah Arendt, trans. Harry Zohn
(London: Cape, 1970), pp. 217–251.
14 Alan Borg, War Memorials (London: Leo
Cooper, 1991), p. 83.
15 Ibid., p. 119.
16 Brian Stater, “‘War’s Greatest Picture’: St
Paul’s Cathedral, the London Blitz, and British
National Identity” (M.Sc. thesis, University College
London, 1996).
17 The 1942 Beveridge Report cited want,
squalor, illness, ignorance, and disease as the
“five giants.”
18 Bevan is quoted in St. Pancras Gazette, 1 November
1948.
19 As part of the wholesale revisions of postwar
history, the very notion of consensus has been
called into question. Some historians, however,
still defend it as a useful concept. For this debate,
see Paul Addison, The Road to 1945: British Politics
and the Second World War (London: Pimlico,
1994), esp. “Epilogue: The Road to 1945 Revisited”
(pp. 279–292).
20 Patrick Wright, A Journey through Ruins: The
Last Days of London (London: Radius, 1991), p.
92.
21 Correlli Barnett, The Audit of War: The Illusion
and Reality of Britain as a Great Nation (London:
Macmillan, 1986).
22 Alan Borg, director general, Imperial War
Museum, foreword to The Cabinet War Rooms
(London: Imperial War Museum, 1994), n.p.
23 Ibid.
24 Ibid.
25 Lowenthal, Heritage Crusade, pp. 1–31.
26 Lord Charles Spencer Churchill, introduction
to Winston Churchill’s Britain at War Museum
(London: Churchill Publishing, 1993), n.p.
27 Raphael Samuel, Theatres of Memory (London:
Verso, 1994).