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Showing all 16 results

  • 6.70
    London Subculture 1979-1981 Cafe Royal Books photos by Yan Morvan

    London Subculture 1979-1981 Cafe Royal Books photos by Yan Morvan

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  • 6.70
    balfron brutalist tower block architect Erno Goldfinger

    Balfron Tower Zine by Cafe Royal Publishing

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  • 6.70
    Cover of Cafe Royal book with image of girl with fringe photographed by Janette Beckman

    Janette Beckman Mods & Rockers Raw Streets UK 1976–1982

    £6.70     Add to basket
  • 6.70
    barbican estate london

    The Barbican Estate by Cafe Royal Books

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  • 6.70
    Down the Tube Travellers on the London Underground 1987-1990 Paul Baldesare Cafe Royal Books

    Down the Tube Travellers on the London Underground 1987-1990 Paul Baldesare Cafe Royal Books

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  • 3.00
    Mel Gale zine front cover Katowice

    Debrutalising Brutalism Zine by Mel Gale

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  • 6.70
    front cover Street Portraits

    Street Portraits photographer Syd Shelton for Cafe Royal Books

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  • 6.70
    car in desolate area during cold war DDR

    Berlin After the Wall 1992-94 Café Royal Books

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  • 6.70
    London's Docklands Mike Seaborne, Cafe Royal Books

    London’s Docklands Mike Seaborne, Cafe Royal Books

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  • 6.50
    zine with image of builder of the broadgate development liverpool street

    The Broadgate Development: Brian Griffin Cafe Royal Books

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  • 6.70
    front cover with image of children in the streets of east end

    City Kids London 1973-1975 Two Cafe Royal Books

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  • 6.50
    front cover san diego topography 2

    San Diego Topographics 2 1986 – 1987 by Stephen Clarke

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  • 6.70
    dragan novakovic london street scene

    London Streets 1970s Cafe Royal Books

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  • 6.70
    front cover brutalist award winning estate Alexandra Road

    Alexandra Road Estate. Park & Plant by Craig Atkinson Cafe Royal Books

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  • 6.70
    zine featuring brutalist erno goldfinger estate

    Robin Hood Gardens Zine, Cafe Royal Publishing

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  • 6.70
    Lauderdale Tower Barbican Estate

    London Barbican Photo Zine by Cafe Royal Books

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@Barbican_City_of_London
A post office that could double as a sculptural co A post office that could double as a sculptural concrete spaceship. The Central Post Office in Skopje was designed by architect Janko Konstantinov as part of the city’s post-earthquake reconstruction after 1963. Rising beside the River Vardar, its circular communication hall remain among the most striking examples of late Yugoslav modernism. Even now, after fire damage and years of uncertainty about its future, the building still feels radical and monumental at a more optimistic moment when the belief that architecture could help redefine a city went beyond just an idea. Image @robthartfot
Font envy Font envy
The vision of a modernist with conviction who had The vision of a modernist with conviction who had a short, complicated career, Amyas Connell (1901–1980) arrived in London from New Zealand in the 1920s, studying at the Bartlett before forming Connell, Ward & Lucas. For a brief moment in the 1930s, they were at the forefront of British modernism, bringing reinforced concrete, open planning and European ideas. Highpoint I in Highgate (1935) remains his defining work, designed by Connell, Ward & Lucas, with Berthold Lubetkin, an émigré architect, acting as a consultant to the project. Lubetkin was not the architect of record, but he advised during the design phase and his experience of continental modernism informed aspects of the building’s planning and refinement. The commission, design responsibility and authorship sit with Connell and his practice, though that is frequently forgotten in descriptions now. Highpoint was built for the developer Sigmund Gestetner. At the time, Connell described the challenges, “The problem was to produce luxury flats with the maximum of sunlight and air, and with complete privacy for each tenant.” It worked. Even Le Corbusier admired it, calling it among the finest modern buildings in the world. And yet, buildings like Highpoint were the exception. In 1930s London there was little institutional support for modernism, no large-scale state programme, limited backing from bodies like the London County Council, and cautious lenders and planners who favoured familiar forms. Projects like this depended on rare, forward-thinking clients rather than a system ready to support them. By the late 1930s, Connell had turned away from modernism altogether, later working in more traditional styles, a reminder that architectural careers don’t always move in straight lines. Highpoint, though, remains a triumph. Image CC BY 2.0

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