The third episode of this first series of ‘Grundy’s Wonders’ produced by Tyne Tees Television and written and presented by architectural historian and broadcaster John Grundy. In this edition John travels across Northumberland and Tyneside to find examples of worker houses, home built for the ordinary man and woman in ages past both in the countryside as well as the town. Again, John also picks his worst kind of housing awarding it the ‘Grundy’s Great Boot of History’ as well as the best....

The third episode of this first series of ‘Grundy’s Wonders’ produced by Tyne Tees Television and written and presented by architectural historian and broadcaster John Grundy. In this edition John travels across Northumberland and Tyneside to find examples of worker houses, home built for the ordinary man and woman in ages past both in the countryside as well as the town. Again, John also picks his worst kind of housing awarding it the ‘Grundy’s Great Boot of History’ as well as the best. An animation of a book with its pages turning revealing different buildings and architectural styles ending on presenter John Grundy holding the programmes title card. Title: Grundy’s Wonders A montage of the grounds of Alnwick Castle in Northumberland with sheep grazing in fields and ducks swimming in the serpentine lake. Presenter John Grundy gives a brief history of the Percy family who have lived on this estate since 1307 and after explains how they were able to build this grand castle asks the question what about their workers? Filmed in slow-motion crowds of people walking along a busy Newcastle street with John explaining why it hasn’t ever been easy to build decent housing for workers and asking what solution have been found in the past to house the poor and ordinary. Walking along a track John explains why it is difficult to show the kind of early workers houses mainly because none survive. Appearing in the ground of Bede’s World at Jarrow John walks over and enters a reconstruction of an Anglo-Saxon house which he describes as a small sunken and a rough dwelling. Inside this damp and dark house described by John as a Grubenhous or pit-house he explains that houses such as these didn’t change much for hundreds of years. To prove his point, he uses a torch to read a passage from a book written about the history of Northumberland in 1825 by Eneas Mckenzie in which the author describes similar structures or hovels existing in his time. In the village of Akeld near Wooler in Northumberland John approaches what he describes as the next generation of cottages that began to appear in the 18th century. These were a huge improvement with proper roofs, stone walls, a window and a chimney but were still small single rooms. Sitting on the wall outside this ‘pauper palaces’ John pulls out again the book by Eneas Mckenzie who was critical of such properties because of their small size. Over views of a range of farm workers cottages nearby John explains that those who lived in these houses also worked for their landlord looking after his estate. At John goes onto explains that the more ‘advanced landlords’ were producing better quality housing the film changes to him standing outside Fowberry Cottages also near Wooler which John sees as being a vast improvement over the cottage at Akeld containing two rooms and a kitchen for each family. Following views of nearby Fowberry Tower where the local landowner Matthew Culley lived, the programme returns to show Fowberry Cottages again with John explaining why Matthew Culley made the decision to improve his workers living conditions, a mixture of both humanitarian and self-interest. Over a montage of other early 19th century farm workers cottages built around north Northumberland John explains that this area was one of the first in the county where the process of improvement went on. Returning to Alnwick Castle John states that the Dukes of Northumberland were key landlords and were also at the forefront of providing better housing for their workers. A montage of the village of Denwick near Alnwick which was re-built by the Dukes to include amenities such as a small church and two water fountains to provide a public water supply. Around the village different sized cottages for various levels of estate worker, a large house and garden for the Estate Factor but even the lowest worker has a pretty single-storey cottage and garden. A montage of these and other cottages in the villages, many with decorative flower beds. Walking though the village John once again pulls out the book by Eneas Mckenzie who talks positively about the work done by the Dukes to improve the village. Over a montage of other estate villages from across the region John explains that there are lots of examples of similar designed housing around the Northeast. As he walks through one village, he explains that the greatest period for building estate cottage was from the mid-19th century onwards with the commonest style being the Tutor style. Again, over examples of this style of building John states how picturesque these properties can be creating some of the most attractive features on the northern landscape. Rows of terraced houses in Ashington in Northumberland with wide back alleys and yards. Walking along one of these back lanes John explains that while the farmers cottage features previously are nice, most Victorian workers lived in houses such as theses in towns and cities. Following a history of Ashington’s housing development by the Ashington Coal Company, views of properties on 1st Row, the first houses built by the company in the 1850s which were nicer than the rest as they were built for the colliery managers. Over a montage of the other more humbles houses built for the ordinary miners a woman putting out her washing with John describing these as solid utilitarian houses varying from the ordinary to the ugly. A phantom car ride passing rows of terraced streets with John stating that no examples remain in the region of the worst kind of back-to-back terraces, but he gives details on what they were like. A street of terraced houses built on a slope either at Newcastle or Gateshead. Described by John as Tyneside Flats he provides details about what makes them seem odd. Standing in the street he explains that while no-one knows who came up with the idea, it was a clever way of cramming two families into one house. Over a phantom car ride along the street John explains that these types of housing are found primarily on Tyneside. Standing on a street in the Pendower Estate at Newcastle John explains how this council development of around 1920 was designed by the same two men who also designed the Tyne Bridge. As a child rides past a letterbox on their bicycle, John provides details on the Housing Act 1919 which gave councils responsibility to build homes such as these. Over a montage of various streets on the estate John explains that this is one of earliest council estates in the country, but it doesn’t differ much from others but was a great improvement from the squaller of earlier working ancestors. Standing on a nearby field John takes the programme into a commercial break by asking where the best workers housing in the region are, and which will get this weeks ‘Grundy’s Great Boot of History.’ Title: Grundy’s Wonders End of Part One Part Two Walking along a street in Newcastle John states that he doesn’t like tower blocks. A montage of the exterior of several tower block estates in the city including Cruddas Park, The Beeches and at Gateshead the Derwent Tower also known as the Dunstan Rocket ending on a tower block being demolished and ‘Grundy’s Great Boot of History’ coming down on the scene. As John talks about their development more views of tower blocks dominating the skyline. Standing with three tower blocks in the background John attempts to explain why he doesn’t like them describing them as ugly and impersonal. John takes from his pocket an old article from an architectural magazine relating to the ‘modern’ building design of tower blocks and features a photograph of the three towers behind him. He explains why the description of these blocks being ‘modern’ irritates him. A row of renovated terraced houses built in the shadow of these tower blocks, something John prefers any day. Describing tower blocks as being the wrong shape for British towns he once again gives them the‘Grundy’s Great Boot of History.’ Driving towards Sunderland and crossing the River Wear, John turning into a street in the High Barnes estate containing a row of single-storey terraced cottages known as Sunderland Cottages. As he walks along the street John provides some history on the development of this form of housing. Over a montage of said properties he provides details on the six reason why they are his favourite type of workers housing in the Northeast: independence, privacy, adaptability, close to work, nice placeness and durability. An animation of a fanfare of trumpets over the following title. Title: Grundy’s Wonder Over the closing credits another montage featuring Sunderland Cottages. Credit: Written and Presented by John Grundy Camera Mike Parker Sound Paul Graham, Dave Venus Production Assistants Eileen Brown, Margaret McKie Sound Dubbing John Cook Graphics Dave Richardson Title Music McGregor Cook Editor Mike Pounder Executive Producer Jane Bolesworth Producer & Director Steve Robins End title: A Tyne Tees Television production. © Tyne Tees Television MM