- progressive Hungarian-born modernist, 1902-87, settled in Britain 1934. His Trellick Tower social housing block is a highly articulated and elegant West London landmark - once despised, now popular;

- prehistoric stone circle and associated earthworks in Wiltshire, England, under the control of English Heritage;

- proposed extension to this late 19th/early 20th century museum. Looks like a jumble of boxes dropped at all angles on top of each other. A touchstone in the English architectural debate;

- city in north-east England facing Newcastle across the River Tyne;

- seminal English gangster movie of 1971, set in Newcastle/Gateshead;

- once a large British car manufacturer, now a small German-owned car manufacturer with several large factories including Longbridge, Birmingham;

- toytown vernacular housing, named after the home of Noddy, a British children's fiction character of the 1950s by Enid Blyton.

 

Now read on...

There is a certain inevitability about all this. Such is the craving for instant heritage that more and more aspects of our environment must be buffed up and presented as such. Contrary to the government-backed view of Britain as newly progressive, modern, architecturally adventurous, a cauldron of advanced design and so forth, conservation now has a tighter grip on us than ever. You can tell: it has its own, highly successful, BBC TV series, year after year. One Foot in the Past, with its sundry spin-offs, caters for much the same part of the viewing brain as all the home decorating, gardening, motoring and cookery programmes: mainstream, undemanding, slickly presented, quickly forgotten but always there. For heritage issues presented by Kirsty Wark to reach much the same audience as the panting admirers of gardening's peasant goddess, Charlie Dimmock, is a populist triumph.

But the idea of heritage has changed, and how. When commentators in the Thatcher years started to ring alarm bells about what they saw as the creeping blight of heritage culture, the problem was seen as being to do with Victorian values, nostalgia for a lost imperial past. This was the time when the National Trust was still going full-throttle for the sort of country houses that Granada TV and the BBC liked to film its lavish costume dramas in. This was the time when Prince Charles started saying daft things about what he thought was new architecture. Cities, let alone modern bits of cities, were off the agenda. As for collieries - they were Scargill's haunt. Scargill's miners held the country to ransom. So far as the government was concerned, they could not be closed down and razed quickly enough.