 Mae'r unigodd maen nhw'n siŵr i'w gweld, o'r ddweud o'r ddweud, i ymweld i'w gweld i'w gweld i'w gweldio'r catalog, sy'n cymryd yr oedd yr ysgol iawn yn y 5 ymlaen. Yn y 18th dynistri, yr 18th dynistri, yw gweithredu awrthyn nhw'n gweithio'r llwyddiadau newydd. Fe was first conserved by fellow Angerquy William Stucly in the 1720s when he urged the society to pay with the placing of a wooden bollard to protect the cross from passing traffic. Felly, mae'n ymddirionedd yn dda. Yn y pethau 17th yma, mor hwn yn dweud y Proses Elyw gyda'i Llywodraeth Llywodraeth ar yr holl gweithiol, ac yn ymddirionedd ar y reilad. Mae wirth yn gweithio oedd am ymddirionedd yn drafodaeth i'r llai'r holl gweithiol, ac mae'n gweithio y bod yn yr holl gweithiol a'r holl i'r holl gweithiol o'r holl gweithiol, y brych plydd under the cross or around the base of the cross and replace the bonhunt. The cross is still with us today, now with steps up to it, but with the added change that the statutes that you see which survive in the 18th century are now in the local museum. I start with this because it seems to me to be a very good example of the sort of questions as to why we look after things and where else would I want to start because the society's rich tradition of doing that for our great monuments and the material culture of our past, but also the sorts of things that come up in the considerations of these, that this cross was increasingly a rare commodity. Many of them have disappeared in the 500, 600 years since Alan of Castile's death and the progression of her body to London. There had been the century before, at the time of Civil War, a significant loss of two of them. So it's something about the increasing uniqueness or the particular uniqueness of this cross, which was very important. The fact that if you think to preserve something, you have to go back and check how it's being used and what's happening to it. The preservation order may have succumbed to other local changes and then also the very physical fabric itself may have had to be further dismembered to protect part of it and taken indoor. It seems to me these are all still relevant when we turn to the protection of 1960s buildings, about which I'm going to talk. Two weeks ago, two British heritage, the great canopy here at Martha Moor and at West Drayton Nottinghamshire, and then the canopies over the garage at Redhill on the A6 in Leicestershire. This is by the American architect Elliot Noise. Martha Moor is 1960 to one, this is being of 1964. What's very interesting about these is the rationale for English heritage's wish to preserve them. It's very much about thinking of them in terms of what they represent about 1960s culture. A great celebration here of the age of the car, greater car ownership than ever before, the moving around of people to different places by car, and the way in which these petrol stations are self-to-reflect that new mobility and movability in the period. Notice they're not exactly in their original. On the other hand, the great Martha Moor canopy now has a restaurant captain underneath it, so here's a way in which a 1960s iconic roof has been put to New York to new use. Also, I think one of the things I want to question about this is the sense of enlisting these buildings. This is still a garage, so you're still having the drive in and drive out again expectation of the 1960s. On the other hand, it's very interesting that we're now being encouraged to travel less by car, and that when you set up something like this as a monument, supposing this ceased to be a garage or the road layout changed or something, this was a monument which was meant to be seen on the driver's window. It was meant to signal garage in the 1960s. What's to become of it? So that business of going back and of revisiting things is terribly important if we are to understand and make these buildings not only say things about, but also about the changing circumstances in which we view them, understand them, appreciate them. The University of Sussex is celebrating its 50th anniversary, and my heart sank a little bit two and a half years ago, of course, when the Vice Chancellor said to me, and of course, Maryshawn, do an exhibition, won't you? Because my experience of helping colleagues, particularly the V&A, from whom colleagues are, I've learned an enormous amount over many years, is that you can't do these things, you know, in five minutes with a team of voluntary students. It takes degrees of professionalism and of careful processes that you must absolutely follow. So it did take a long time, and few weeks ago, my full time, putting the exhibition up. It's on until the 14th of June, if any of you are coming down to Brighton, do come and see it, or over Mondays to Saturdays, still the poster, 10.30 to 5.30, and I think it is a very fitting way of celebrating this particular. I've built up the exhibition and designed the exhibition around the relatively small amount of original material we have. We have a dozen or so original drawings, watercolour, pastels, glasspence, these workshops. We have four models from the early 1960s, three of which. And of course, we have a great dossier of old photographs taken from the 1960s onwards. We've also used a part of the exhibition that we'll see in a moment to talk a little bit about furniture and furnishing and a locked case that the university treasured in it. Much of the Spence archive, of course, is in Edinburgh, his hometown, Spence, of course, born in India, but his family were Scots, so the archives were Rock Commission Scotland, where there's more Sussex material, and there was an exhibition on that in Edinburgh and went to Coventry. So it was really going to be about Spence at Sussex, that's what I base it on. But in doing some research for this and getting other people involved in this, of course one finds out a lot about the university's history and hopefully we have built on the record we have, oral and in written form, of people's memories of those early years. Here's a contour model made in the early 1960s showing the earliest idea for the university building in the downskate, and on the shallow valley floor of the downskate where our historic building now rests. It was in 1993 that our building were the first group of 1960s buildings ever listed by English heritage. And that listing, of course, one of the things I was saying earlier about revisiting over time, has given the university 20 years to think about that responsibility and some of the judgement one might make is how far that responsibility has been followed. It's no small thing in the university which has expanded dramatically in recent years to look after historic buildings. One building is way one, the others are, the other six are two-star, in a changing environment and given all the pressures on university space and buildings. It was, of course, the first university founded in 1959 of the famous Shakespeare Seven, which, for those who don't know, of course those 1960s universities are named the Shakespeare Seven because they evoke the name of the Earl and Count and Shakespeare's history plays Lancaster York Essay. They were founded at a time, and it is extraordinary to think back to the 1950s after the red bricks of the 19th century had expanded slowly but there was a new vision of what university education should be about but expanding, of course, compared to what happened in a very, very small way. You're seeking to admit maybe 15 or 20,000 more students to the university to a tiny number. But the idealism of such that you were going to found these new universities with new ideas about ways of learning. You would break the boundaries. You would, in one famous phrase, redraw the map of learning and several highly idealistic books including by David Daches at the University of Sussex, the idea of the university were written around these ideas. One of the ideas of the university, of the new universities, was to, in some cases, preserve the structures of the past, building colleges with open spaces for pedestrian access, make their own ways and spaces around the campus. They were all built, of course, about four miles outside historic towns so there's the idealism for you which has been a tremendous challenge for them all in recent times because issues about transport, about students who now want shopping and bands delivering their pizzas have transformed. It is not a society where they'll all be willingly fed by the university and slept comfortably or whatever. They have very, very different expectations. But the idealism was these were out of town places where people would sit in green fields to nature. It was the title, of course, in one of these universities. Well, how is this all looked after? Here's a view I took just two or three days ago across campus and I will return to a similar view to this. We're looking in the library with the sun on it in the morning and to the left of that, the arts centre, 1960s building and immediately to the left of that, Salma House, that great one-listed building that we'll see a bit more about in a moment. Sussex was a campus built with some iconic buildings, a library, a meeting house which was to gather in the various religious faiths or religious faiths or none of the student community. An arts centre, arts buildings with lecture theatres absolutely stages the arts science building. But it was also to give a sense of intimacy of scale in some part. So in the arts building there's this brick cloister which shows the way in which the university was planned to have those intimate spaces and walkways along which people could walk and contemplate and do their work. So challenges about preserving as we have had to do at Sussex iconic buildings which are on the front cover of the books and are famous buildings of their own right and this sense of the intimacy of space which we've called for. Salma House in particular, a great one-listed building that's gone into all the textbooks of the 1960s period it may shortly I won't say too much beyond the front cover of a very, very distinguished series indeed. And it's become the kind of motif of what we value and if somebody wants this to me at Morris it's really like one of your Tudor gatehouses. It's the kind of thing that signals wow, this is of its period, this is of its time and the height of the Tudor gatehouse is replicated here by the closed and open spaces that Spence uses. There it was in 1960 when you just after it was finished and here it is today still looking much the same with the the paths have been changed with the greens wall that's still there from the front ugly signs I think saying Salma House which is quite unnecessary but perhaps necessary to guide people around buildings. What we don't see of course and I'll come back to this bit at the end in terms of summarising the changing landscape is if you turned around from that view now you would see the gigantic right not in the immediate area of the university but just across the road and in a sense we're rather threatened with strict development public buildings and yet more housing between us and Brighton itself and the road itself when I first went there in the 1970s students used to dangerously run across the A27 and there were the bushes along the middle now it's a fast track onto the bypass. The landscape around has changed but just to show you that there has been a care and conservation in some ways it's largely as it was but I will come back the courtyard sounds interesting though and raises the issue of these new and different things the idea of this grand building was it would provide a great dining hall for students there would be some office space there would be a staff flat where the warden of the university would live and the former colleague of mine who still lives in Brighton whilst the first school here it would be music practice spaces it would be a place with a common room for students to gather now it's largely taken over apart from two suite offices by the university administration by the students union folks in here unlike other universities has never built a purpose built student union which is what the students deserve it would be nice one day to put this university building back to some of its early uses of dining, of concerts there are wonderful letters in the archive in Edinburgh of people who came down to the university in 1962 and went to grand dinners here and described as an example this architecture of how we left another block candlelight on the water on the inner moats of the building and how magical it all was you have to work quite hard now given the wear and tear on this building to imagine that that must have been like but it's not irretrievable now why in terms of listings to this building can particularly relevant to the another case I'm going to talk about briefly at the end where currently there are the rather less happy stories why were these buildings listed and what is it about them that summarises the things that are about place and time that are echoes of sentiments around these recent listings of the garage well first of all I thought we had the glamour of battles and himself he was appointed when he was president of the RIBA in 1959 the great work of Coventry Cathedral was beginning to come to an end some of you may know tomorrow Coventry Cathedral is having its big ceremony to celebrate the 50th anniversary photograph which we borrowed from Anthony Blee in law hangs in the exhibition is also very relevant because it's about time and about conservation he's shown here standing outside his office in Canembury he had two working offices in London because he was at the head of a campaign to save those acts which was one of only two sets of original gas lamp a whole series of gas lamp converted to electricity originally for gas that survived in London at that time so he's a modern architect but also doing something to preserve the past Spencer's reputation of course has been built in many ways and not least his great work on exhibitions and there we are the festival of Britain, the famous image of the skylon the dome of discovery on the right and Spencer's sea and ship which ran along these sea fronts to the right of hunger where he set up his great ganses in closing ships to talk about maritime history so exhibition design which he'd done really since the 1930s in his bus involvement in Glasgow and also propensity itself which shares certain things with the University of Sussex it shares the use of rising ground and the building on rising ground it shares a concern for local material here of course the local red sandstone of University of Sussex locally may brick flint and the modernism come care for local materials and those of you who know Coventry will also know that in the last possible designs Spencer's designs three almost freestanding circular chapels and pleasures of congregation these circular motifs buildings built in the round are very much a feature of the University of Sussex so in many ways a logical progression of these ideas from the religious building to the secular university period and here we go to the rise of the ground up into the down the great steps up to the chichester lecture theatre not as grand as originally intended the UGC, the university grants committee stepped in and stopped him building two great circular chapels and my baffles in the university campus are things like getting them to remove fire assembly points from that 6th's sheer brick wall when it would stand just as easy on the building to the side of course the steps are somewhat ameliorated inevitably all over them the campus would be very very grand for the modern health and safety requirements of having rails so that's in the first phase of the 1960s on the science lecture theatres then the meeting house began in 1967 and here spent already beginning I think it's part of the sensitivity and the creativity of the university campus is that he's bringing in other architects his son-in-law Anthony Blee is the co-op of Collins' is the arts building is that I've seen a bit like if I'm not training on too many toes here the architecture historian was like Nash and Regent Street you lay down the principle of certain ideas about design steps round things use of brick work and concrete as ways of giving other young architects a way forward within the parameters of an initial design idea and then the arts centre and here's all the models have been refurbished for the exhibition here's the mid 60s the model of the art centre with its designed in collaboration with the theatre designer and art space and then small spaces for Andrew Lutris for exhibitions for small drama presentations in the current but very very long term restoration of this art centre it is hope to restore some of those original spaces back to the way they were first conceived just the model for the physics building one of the things so in some writing as it were spent as a glamorous architect as he goes on after these buildings to do the embassy in Rome and Hyde Park the other thing about him that makes these buildings significant is the way he writes about the variety of sources that he uses in this case the articus of these as it were shop entries underneath setback facades with these great brick pier all along the building and of course when it comes to Phalmer House itself and again sadly you know now great iron straps across to the health and safety reasons here he is mentioning of the coliseum in Rome from this playing of open and closed spaces and in one interview he says this is about my ideas of the way the university would grow one of the things about the listing has been of course is now that the university will not dare interfere with these spaces and start to fill them in or it will be a huge challenge to do so so it remains with these great open spaces and also on film he says how he likes you to see through these spaces and to see behind the status of the architecture the trees and the clouds moving through these buildings so something about antique sources which got people very very excited in preserving these buildings originally the concrete vaults were going to be made in situ but it was found cheaper and easier to make them in the casting yard and then they were lifted as this shop shows you by cranes into place one of the other things that Spencer is very keen to do which makes the buildings unique is to reverse some of the original ideas about buildings and water he puts notes in the courtyard of down the house rather than defensively as one might see another local brick building were from the 15th century were not far from Herson on Circus the great brick structure surrounded by a note here we have the notes inside the building again though these are listed the fabric oven is listed the curb stones are listed whilst I was promised we would fill them again with water despite all the health and safety issues for the duration of the exhibition as we did for a big celebratory weekend of the stars of the academic year the hose pipe van got in the way so this in itself is already an historic photograph and let's hope one day we will be able to see it like this again it's something about the daffled light the concrete surfaces which is quite extraordinary when you go and look at these buildings so the use of brick and concrete and in a way this is spent the art and crafts tradition the brief time he spent in Luchan studio at the end of the 1920s marrying his admiration for the corbusier and the use of precraft concrete in the building was very keen to also proselytise about but in order to make the building local this great tower and elsewhere in the buildings and pints also of Sussex Flint no stone in the area but you use Flint from the down to make this point about there is a continuity with the wonderful Flint many churches we have and other things within the downscape so another reason why the particularity and peculiarity of the building help them to be signed up to listing inside that Flint staircase still an original light fitting Nordic Scandinavian designs that Spence approved of with a sheer wall of Flint up those very dramatic stairs stairs is something I'm going to continually come back to one of the other things I think about Sussex and I'm not sure that what I'm going through here is the general reasons for listing and then the continual and changing reasons and the research and our historical architecture and historical questions that we've gone on to ask since that time one of the things I think is very important about all buildings and something I was talking about when I stepped in last time and gave that talk from the exhibition in America is that it's very very interesting the way buildings are recorded and the variety of means in which we recall them here's another shot of the exhibition with the contour model in the foreground, the big picture of Spence you will see that I kept this exhibition very simple there are no labels to the picture and objects individually I simply have designed specified wall panels and something else I insisted on is that we wouldn't only put black and white photographs with original material we wouldn't let modern or even 1960s colour fight with these very very sensitive images the first line of recording which is interesting about the university's past is that in 1959 as President of the RIBA Spence was heading off to Africa and he tells me beyond Africa actually for two three months so there was this he captured this commission for the university and there was a lot of interest and it was the first of the sixth university to be built but he said this young man Peter Winchester just out of architecture school to design the campus to think about the campus and he clearly made some guidelines of advice round buildings keeping the landscape keeping as many trees as possible accepting the gradient and the rising and fall of the landscape which is after all like nearly all of us at the sixth university carved out of an 18th or 19th century landscape park and it's three early drawings by Peter Winchester they're sort of pastels, blue pastels that you see on the right hand side of that screen and just with a handheld camera I couldn't take the glass off the most spectacular of them this not a prototype of the meeting house but the original idea of having a grand meeting hall on campus on the original contour map is just beyond Phalmer house to the left with trees in the landscape somewhere where people would congregate but what's interested people a lot about these drawings from 1959 is the young Peter Winchester's interest in modern Italian design great paved piazzé arcade around buildings keeping up the traditions of Bologna and other places in Italy rethinking those in modern material and with modern means so very exciting and I find the sixth we got by Winchester all extraordinarily beautiful early thoughts of the marking that moment of the excitement of the first design and then we have works by Spence himself watercolours of Phalmer house this certainly has got to rest when it comes down it's been sitting in the registrar's office too long and I'm afraid if I had my way it would not be seen anymore or could be in the university's special collections and brought out for scholars and what others can't see but it's fading fast less sensitive are his wonderful Spence's wonderful pastels here at the arts building which he originally designed and we got a reproduction of it in the Edinburgh archive in the exhibition and he originally designed these two great lecture halls on a sort of they look like they're sort of wings stretching out from these great pylons on a raised sort of plinth money wasn't possible so the lecture halls either side of the pylons here respect the rising landscape it's a much more finalised modern design so we have alongside the Peter Winchester drawings his own designs in different media recording the early stages of the university and then of course we have these famous photographs taken in the late 1960s by the photographer Hank Snook which are very much as you can all see of their time are of a genre of the history of photography light dark contrasts hardly any people in them making the buildings here found the house again as you saw earlier look really like extraordinary film sets or something very much of their age and again I think of film and Italian film in particular when I look at these a particular photographer's eye and a remarkable and fascinating series of photographs they are of their period this one in particular is the back of Salma House with this great flint tower that I showed you earlier with concrete sticking out from the wall here over a moat that we've now lost that was filled in within about 10 or 15 years of the university not only that but you know it's now crossed on one corner by a silly path because that's the way people use it instead of using the grid and whatever of the university it also shows something else there to the left that was seen as a site for modern sculpture we were lent Henry Law as another thing which stayed on campus for some time in the late 1960s not really possible in this day and age given the sensitivity of an open site but there are various plans back into this landscape another reason why this very much captures play now with our backs to the library looking out just as the time the meeting house was finished with those trees of some of which have been there since the 18th century we lost quite a few in the hurricane of 1987 giving a sense of the parkland landscape and the line of the downs beyond and wherever you stand in the original spence building all of the building sit within the line of the downs so they invaded the downscape they very much sit within it sadly I can't say that to the football stadium but I said enough what also photography records and we have a remarkable series taken at the time were the processes of construction and the one or two I put in the exhibition this isn't one of them of course people say oh my goodness look at these men no hard hats flappy jackets no safety rails another age of building practice and I think if you've got a record like this and it's a very very full record of every brick being put in place almost every brick being put in place and the placing of the concrete being preined into the position you've got something about time which is very valuable and only really explained in terms of preserving the buildings that resulted from this process another good reason for having buildings and record that's still surviving I think it's very important and here we start to see our well I can't sit on the screen you probably can just about in the image there on the big screen just before we took the bubble wrap off the plinth there we needed to say something about the original furnishings of the university because Spence had very very clear ideas about bright colours, bright rugs bright chair fabrics he wanted Swedish and Scandinavian design he says in his in the archive in Edinburgh in his personal files he says how he thinks it's foolish of these new institutions to start putting out this to one to another but to have some control over what these things look like so what we've done in one particular area is just have some 1960s colour photographs and alongside it we've recovered not in original material but an original Spence chair in those bright blue colours that you see in the photographs alongside it a way of evoking something of the original furnishing that Spence so much wanted and of course one of the interesting things about the listing is that a way one listed building six two star buildings in only two cases are the interior of the mention one is in Thalmer House where you see particular aspects of that are mentioned and I'll be showing you a bit of that in a moment the other interior which is as it were listed or the listing is an indication that that this has been a way of making sure these things are preserved is the interior of the great meeting house here's a view at night where you see the colours of the glass and obviously with the glass coventry and inside the original altar table with a choir around it a choir stored with original cast seats made in concrete and then made in wood and concrete around the choir but sadly I have to say those very splendid candle holders were sold by the university quite a number of years ago and have sat for quite a long time on the altar of 16th Warbrooke in London, Lord Palumbo but they're still within the meeting house many of the original furnishing many of the original fitting there here we are in Thalmer House the great chunking staircase of the 1993 listing again an early 60s photographically building when it was first in use and also in the great dining hall of the great Ivan Hitchins Day's Rest, Day's Work painting which Ivan Hitchins painted this original exhibition of modern British artists at the BNA I think in 1959 it then toured the country and he writes for Spence in 1962 and says I hear great things about your new university would you like me to the latest painting set on behalf of the university and then there's a fascinating correspondence about the stresher and the way it's all to be handled and hung on the wall and it's been there ever since with some but not profound conservation but what I also want to point out there is of course there's student dining in the hall and one of the things very important about the building up of knowledge and why it's worth listing the buildings and then going on researching about them because we've got this extraordinary fabric to explore is that in very recent time the history of the university's early dining practices have been investigated by our friend and colleague at the BNA and Eatwell who has led teams of students into further research on this and that has been an enormous benefit because I can remember in the mid 1960s when without a car and being in my early teen years I took coach trips to round country houses alone in the country desperate because I wanted to see them and those weekends where I couldn't force my dad to take me to places I remember going one day to Chatsworth in the mid 60s and we stopped to the motorway service station on the way back and people came out thrilled and excited by plastic cutlery they said it really does cut, it really does work so what's interesting about that an act of a garage is is that what you have there is the matching of motorway buildings serving the motorway absolutely of their period and the furnishings and the utensils that go with them so what Anne has discovered from her trawl of university alumni is the way in which people say it was the first time we had three prong stainless steel forts we've never seen one before so that it was the institution buying big, buying in bulk that was able to play a role in transforming items of everyday use which is very very important things now as part of the university's early history about listing buildings but allowing that elbow room to change some of the things it might have been thought were very important in 1993 are less important now others have risen in prominence one of the course is the ecology of the landscape and the environmental issues so some of the downside of the safety rails we can't have water here and we can't do this and that but in other areas the university has experimented quite profitably with allowing patches of wild flowers to grow with watching the nature of years it was in some areas of the university areas of not wilderness but semi-wildness across some of the lawns where you're thinking about what is the natural downskate and how can people see how if we just let this chalk down what would be growing here I think that sensitivity is very interesting and certainly something that's very worthwhile I want to end today though with a rather different case because within the last week or two the library at the Albert Sloanman the First Vice Chancellor Library this is because it's the university's it is or was and I'm not taking sides here or knowing quite what the thing is at the moment we have new people coming in to post it's the university's proposal to demolish the octagonal stair which leads up to the university library and put other buildings and things in its place to reorganise the way in which the university library is used why is this building worthy of listing well as our colleague Professor Jules Lubbock who's championed at the University of Essex for this building for many years and has led the campaign to get this building listed is that his argument is that 1960s building that by its different warplanes and services challenges the graph paper architecture of the period that we saw in so much mass housing and of large expanses of glass that is interesting for those reasons if you want the classical roots of this well these pillars here are scored, the concrete is scored like the fluting of classical glasses and he makes the point exactly the time when some of our motorways were going up with great Doric supports to them and that's to say this interest in very basic classical design and going back in this kind of more personal interest to the early house as we think of this in Retrugia being made of wood or being in modern materials lots of good reasons why this should be preserved at a listed to say the case itself and I'm going to show you two old black and white because the modern social effort I have to say with rubbish bins and a few tables in them do not do it justice but they can be cleared away when if this space eventually survives and is going to be and is all restored is that you approach the library up this staircase it was originally going to be a great spiral ramp but it's one of the very very few staircases in the Noftigan the idea was that you suggested the idea of a library because you passed along this corridor of concrete support broken up by shaft of light a sort of claustral feeling to where you were going to and what it was all about and a sense of rising through the building towards the quiet of the library space so a very very important sign there of what this is about and why the octagonal staircase is very very much part and parcel of this very significant 60s building Essex was a very very different it was not to have it doesn't have those of you who've been there will know that students were housed in which from a distance Julie talks about San Germiniano and you know the distant cities and I go along with him a long way on that it continued the the landscape park effects which was in the Park of Wovenho which is comfortable painted by creating a new lake around this library building so actually adding value to the landscape in all kinds of ways ways in which these new universities were different but actually said something about the 1960s in a very very particular way it was built of course by a kind of capon from the architecture and planning partnership who may not in the architecture history books have quite the resonance of battle space but nevertheless a very very significant piece of work and a piece of work now threatened which is integral to his design in the rationale for not listing this building I will say we've been told because this is as it were shared knowledge now English Heritage approved it but the DCMS have turned it down look after our colleagues in English Heritage it lacks special historic interest because it does not illustrate important aspects of the nation's social, economic, cultural or military history we feel a ticking off point there and according to some guidelines the DCMS is going by and does not have close historical association with nationally important people I hope what I've been suggesting today is that you could say the new students of the early 1960s were nationally important people I'm sort of standing here almost as one of them and others of you will be of that generation I didn't go to one of the new universities though I was interviewed at two of them in the mid 1960s is that that was a very very significant cultural group of people social group of people of that particular time born in the year as well as their state etc etc that it may not be of obvious economic, cultural, military or social significance but they are in the context of how we're now reconfiguring the 1960s so we may have got the timing wrong with this building as I've shown the change with the garages the change with my own university at Sussex protected now for 20 years but the changes that happen to it by research and by caring for these structures underlines their significance builds on their significance and I think we may or they may have made the entirely wrong decision here in not giving this building immediate missing and therefore but that's my personal view of this As you will see I did not intend today in pulling this together because obviously it's partly been given elsewhere at the V&A design conference around the show and you go and see the V&A show of British designs in 1948 because there's a great display of commentary to people with fabulous things on loan and the Maquette for Lasdon buildings at the University of East Anglia wonderful things to see but what I didn't want to do was to unpick and unpack documents that were of the listing process there are colleagues who work with this who are much more expert than I what I wanted to do was to talk about the deeper significance of these buildings the changes that go on in and around them and how there is need to build up the case not only up to the point when you do the listing but to revisit that and keep making that case in the years thereafter Thank you very much