The City Britain from Above


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LineFromTo

Out of all of Britain's cities, there's one that stands alone.

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London.

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Looking down in the capital today, what's obvious is the sheer scale

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and complexity of this sprawling metropolis.

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But how London came to look the way it does

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can also be seen from above.

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Because, 60 years ago,

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the Royal Air Force photographed the whole of London from end to end,

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and left us a unique record of a city torn apart by war.

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Now exactly the same process is being repeated,

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matching the original survey shot for shot.

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And by directly comparing London then with London now,

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we can tell the story of the greatest transformation

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in the city's history.

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It's a transformation that continues

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faster now than at any time since the war.

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This is the future face of London,

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a future that's being designed and built already.

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London's transformation began on September 7th, 1940.

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300 German bombers flew in from the east, following the line of the river.

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They arrived here at 6.45 in the evening, and looked down on their target,

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the heart of London's docks.

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It was the end of a beautiful summer's afternoon

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and London was about to change forever.

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We know exactly what happened, thanks to a series of photographs

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taken by the German planes as they dropped the first bombs on London,

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on day one of the Blitz.

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What you see in this sequence of pictures, which runs

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from Woolwich more or less to just east of the Isle of Dogs,

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are a formation of bombers. Then you see the bomb load

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being dropped by the aircraft which is carrying the camera.

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You can see also the impacts trailing across from the other aircraft,

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falling short in the river - you can see the splashes there - and the flashes

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of impact in the steelwork of the gasworks, which, of course,

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is THE major supplier of gas to London at that time.

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Subsequently, you see the impacts of the bombs hitting the river,

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and you can see the fires beginning in the docks,

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which were part of the great conflagration of 7th September.

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What you're looking at here is probably

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the most devastating change to London since the fire of London in 1666.

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You're looking at, effectively, half a millennium

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or a quarter of millennium of history about to turn, about to change.

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For five years, on and off, London was bombarded by aircraft

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and rockets, killing or injuring a quarter of a million people,

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and ripping huge holes in the fabric of the city.

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By the end of the war, it was realised that if London was to rise again,

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the first essential step on the road to reconstruction

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would be to record the damage - all of it.

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And the only way to do that was from the air.

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Between 1945 and 1949, the RAF flew more than 200 missions over London,

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shooting 50,000 individual frames,

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recording every square inch of the capital.

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Now every single one of these images

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has been scanned, and all the scans have been pieced together.

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For the first time, we have a comprehensive

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aerial picture of wartime London.

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The London you're looking at is still

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the London that had to, er, it felt it had to be self-sufficient in food.

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Virtually every open space is given over to allotments.

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Here you can see in front of the Imperial War Museum,

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you've got a really quite substantial area just given over

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to growing vegetables and so on.

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In fact, almost all open spaces in London

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were used for cultivating food.

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While the parks are full of vegetables,

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the streets appear strangely empty.

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The only vehicles in evidence

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are trams or buses or a few essential trucks.

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Barely 10% of Londoners own their own car,

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and those that do are kept off the streets by petrol rationing.

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These are the details of daily life where the bombs didn't fall.

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Where they did, the picture is rather different.

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Tens of thousands of buildings, like these riverside warehouses,

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were totally destroyed.

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If you go across the town, some parts of it are largely unaffected,

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but then when you look at it in detail, certainly with the City,

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you've got really very substantial destruction -

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whole blocks have been basically trashed.

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If you look at the area around St Paul's, for example,

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you can just see the stubs of the walls which have been left,

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preparatory to the redevelopment of this particular area.

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Effectively, it looks like the ruins of Pompeii.

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And it's not just public buildings that were hit.

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A third of London's homes had been badly damaged.

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In some areas, 85% of the housing stock had simply disappeared.

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1.5 million people had nowhere to live.

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It was clear rebuilding would take years,

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but there was a desire to do more than just rebuild.

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In the ruins of London lay an opportunity

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to completely redesign the city.

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And there was a plan to do it -

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the Abercrombie plan.

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As early as 1943, a team of designers under Lord Abercrombie

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had begun work on a new city that would rise from the ashes of the old -

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a clean-lined, open and thoroughly modern metropolis.

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London grew up without any plan or order.

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That's why there are all those bad and ugly things

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that we hope to do away with if this plan of ours is carried out.

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The plan was a top-down reordering of the entire city

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that would solve the housing crisis and produce more efficiency.

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Down here, near the boundary, would be a trading estate

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where many of the people living in the district would work.

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The city would be reorganised into zones.

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There would be zones for living, zones for working,

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zones for retail and commerce.

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All these different zones would be connected together

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by a vast network of new highways that would speed workers

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to their destinations and bring raw materials in to the working city.

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Cars and roads would be the way forward,

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as Abercrombie had seen in America.

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It's a pretty gigantic scheme,

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affecting the future of the whole of London.

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But this new city would do more than just work better than the old one.

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At its heart was a desire for space and order for its people.

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For every 1,000 inhabitants, there should be at least four acres

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of open green space - roughly twice as many as before.

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To liberate that space, much of the housing

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that hadn't already been destroyed would be demolished.

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And the people in them would be collectively rehoused

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in thousands of new apartment blocks, stacked in rows across the city.

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Just like Churchill Gardens.

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In Pimlico, not far from the Thames Embankment,

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a giant skeleton of steel is going up,

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the framework of a block of bright, modern flats

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that are to transform living conditions in this quarter of London.

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This vast housing estate near central London was the first great test

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of Abercrombie's vision.

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Brand-new homes for over 3,000 people in a single development.

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Paul Finch was one of its early inhabitants,

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now returning after 40 years to the estate he lived in as a child.

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It was quite exciting.

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I mean, we came here to go in the playgrounds and to mess about.

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Churchill Gardens was the new thing that was being built,

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and I think we just accepted it as...this is how it is.

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I had a school friend who lived in Lutyens House,

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and I can remember standing on the balcony outside his front door,

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looking down at a terrace of houses opposite that were being demolished.

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I remember his brother saying he wasn't sure why they were being demolished

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because people still lived there.

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I thought it was pretty obvious why they were knocking them down,

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cos they looked really old and dilapidated

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and kind of clapped out, compared with all these modern blocks that we now lived in

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with hot and cold running water and central heating.

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It was the idea of something modern and new and clean.

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I think when you look back at films of people who occupied new council housing,

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'40s, '50s, even '60s, what you see is people who are very,

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very happy with what they've got, and the reason for that is,

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which we all forget now, is what they came from.

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By and large, fortunately for most people, they don't have to experience

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the conditions, certainly, that their grandparents did,

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where what we would now regard as basic and essential facilities

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were simply not available.

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The late 1940s was a radical time, when Britain first turned old ideas

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of a National Health Service and a full welfare state into reality.

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It was an era that deliberately and unashamedly promised

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a brave new world for everyone.

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This is Churchill Gardens today.

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What's clear is that it's totally different to everything around it.

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If this is as far as the housing revolution got,

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what happened to the rest of Abercrombie's plan?

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The only way to find out is from the air.

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Archaeologist Chris Going has been documenting the changing face

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of London from the air for the last five years.

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We have nine frames on the second run, I think.

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By flying exactly the same route the RAF did 60 years ago

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to create the first aerial surveys, Chris hopes to create

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an identical modern survey of his own.

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What we are doing today is we are producing imagery which,

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when we compare with the 1945 material, gives you in one go, if you like,

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all the changes we've seen in the city of London, in the centre of London,

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in the last 60 years.

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It's effectively a time machine.

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By lining up the two complete sets of images, Chris is able to switch

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between the past and the present.

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Between the London Abercrombie was about to change,

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and what we actually ended up with.

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Overall, there appears to be very little difference.

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The basic matrix of roads is largely unaltered.

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There's certainly no sign of any great unified vision.

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If the population of London in the later '40s or the '50s

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could look at the London of 2008, of the 21st century, I think

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the thing they would most clearly say is how incoherent it looks.

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It does not that like the sort of envisaged city

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of the planners of the '40s and '50s.

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When it came to housing, local authorities never followed

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the Churchill Gardens model, but took to building clusters

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of high-rise tower blocks instead.

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While around them, private housing remained

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almost entirely pre-war vintage.

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Exactly the opposite of Abercrombie's vision.

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The plan to double the total area

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of green space in the city produced just one notable south London park.

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And the transport revolution that promised fast access

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along multi-lane freeways throughout the centre of the city

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never reached that far.

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Today, congestion blights the motorways running into London,

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because the centre is just the same old maze of streets

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from before the war.

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And in the heart of the city, where a great modernist capital was meant

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to stretch along the Thames,

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only the centrepiece, the Royal Festival Hall, was ever built.

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Ultimately, Abercrombie failed.

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But his failure should be judged in the light of history,

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because London had tried this kind of thing before.

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300 years earlier, after the great fire, Christopher Wren

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came up with a grand new vision for London.

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A formal European capital that would radiate out

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from the glorious centrepiece of St Paul's Cathedral.

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But just as with Abercrombie, the centrepiece was all that got built.

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Neither man managed to get the money or the political backing

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to tear down the city and start again.

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Wren had a big vision for London, which he was not able to fulfil

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because of the competing interests of people who, basically, just wanted

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to get back to what it was like before.

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After the Second World War, Abercrombie had a plan.

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But London is resistant to grand plans.

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Yet London has been transformed all the same.

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From the city of the 1940s

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to the city of today, there's a world of difference.

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And far from following any central plan,

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it's largely the result of barely controlled economic forces.

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What London responds to is trade,

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commerce, money, markets, prosperity and movement.

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And in the end, what has made London is precisely those things.

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Money changed London in ways no-one in the 1940s

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could ever have imagined, because London changed the way it made money,

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and nowhere shows this more clearly than here.

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The modern, geometric blocks of Canary Wharf now hide what used

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to power this city - the docks.

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Since Roman times,

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London's docks had been the engine room of the city's economy.

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Stretching for ten miles along the Thames, by the late 1930s,

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the port of London had grown to be the largest in the world.

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This was where the whole of the British Empire brought its goods to trade,

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which is why, when the war ended, the docks were rebuilt immediately.

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Dock workers had to make do with living in prefabs.

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And for 30 years after the war, life in the docks went on, more or less,

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as it had before, and looked set to continue, unchanged, forever.

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What they didn't see coming was this.

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By the 1970s, what the world's economy demanded for shipping

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was giant bulk containers carried on giant container ships

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that could only be processed in giant container ports, like Felixstowe.

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None of which would fit into London's tight, narrow river,

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with its densely packed, labour-intensive docks.

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As the last dock facilities finally closed at the end of the '70s,

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the remaining 10,000 jobs went with them,

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leaving behind a vast, derelict wasteland.

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When the docks became redundant in the early 1970s,

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there was a great think about what to do with this area.

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There was a public sector body set up, which was going nowhere,

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and then suddenly the hand of commerce intervened,

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because people who were having a problem

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getting sufficient office space in the City of London,

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at the sort of rents they thought they should be paying,

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suddenly looked at Canary Wharf and thought, "Why don't we do it down there?"

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And this great private sector experiment began.

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This was the first time in hundreds of years that eight square miles

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of prime building land had appeared so close to the centre of London.

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There was an unrivalled opportunity to think through

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what the whole development would be over its entire lifespan

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and to plan for that right from day one.

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This was very unusual.

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By the end of the '80s, the wasteland had become

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the biggest building site in the world.

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I remember first arriving here and seeing a forest of tower cranes

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and very little else. We recognised that at the beginning

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we would have to build a certain number of buildings to start with

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just to get people to move here and to realise

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that this wasn't just an office building in the middle of nowhere, but a place,

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and I think the risk was in creating that first group of buildings

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and expecting that companies would actually move here as a result.

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Prospective companies were lured by huge Government incentives,

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effectively giving the land to anyone who'd build on it,

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as well as paying for new transport links

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to bring City workers to their new offices.

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At first, all went swimmingly.

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Then the country was hit by recession and, suddenly,

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no-one would take the risk of relocation to a giant building site.

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The first Docklands developers went into receivership.

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When the economy did finally turn round,

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the developers had their master plan waiting.

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And the result was this -

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what's often been likened to a piece of Manhattan, dropped from the sky.

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People say, when they're in Canary Wharf,

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"This doesn't quite feel like London,"

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and the reason why it doesn't feel like London is because it isn't like London.

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And the reason it's not like London

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is because it was master-planned by American architects and planners,

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working in a tradition of a grid, working, right from the beginning,

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with the idea that you should integrate transport

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and employment in one seamless way, which it does extremely successfully.

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In fact, the only problem it has is maybe it's a little bit too successful,

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but that's better than not being successful enough.

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Where 100,000 men once handled cargo at the end of the war,

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just as many people now earn a living in financial services.

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By the turn of the century, this alien-looking invader

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had become a serious rival to London's old financial centre, the Square Mile.

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The old City was bound to respond to the challenge.

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And it has.

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This is the Square Mile today, in the midst of a colossal building boom,

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the most obvious feature of which is that its jumble of structures

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looks very different to the organised blocks of Canary Wharf.

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And that's because new buildings here don't stand on a regular grid.

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They stand on a street plan that hasn't changed radically

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in 1,000 years.

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The streets of London, which is really the geography of London,

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especially the heart of London,

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is rooted in medieval history. They're narrow, and, basically,

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they're for horses and people who are walking.

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We've kept to that in most areas in the centre.

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This gives some pretty big constraints for -

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1,000 years later, shall we say - where movement has completely changed.

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We don't have the classical streets that you see in Paris,

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or the grid forms we see in New York.

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We have grown very much ad hoc, piece by piece.

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The name of the game here is to squeeze bigger and bigger offices

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into these irregular spaces.

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One of the best examples of how this can be done is the Gherkin,

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which cleverly creates more space in the air than it has on the ground,

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with its bulging shape.

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Others are twisted into a variety of strange forms

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to maximise the limited space they have.

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Architecture has developed out of constraints.

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The real art of architecture is getting a constraint - you can't avoid them -

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and then turning them upside down and seeing how they fit.

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But there's more in the City than just a street plan to challenge an architect.

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There are dozens of ancient buildings,

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none greater than the looming presence of St Paul's Cathedral.

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For 350 years, St Paul's has been the jewel

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in the architectural crown of the City,

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and is now so venerated that even the views of it,

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from miles across the city, are protected by planning laws.

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Fortunately, there's a new visual tool to help architects avoid the problem.

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This picture, and thousands like it, form part of a giant 3-D graphic model

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showing the whole city, with St Paul's at its heart.

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These are the sight lines,

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where the greatest restrictions on building are enforced.

0:25:410:25:44

It was in one of these corridors that Richard Rogers was asked

0:25:460:25:50

by developers British Land

0:25:500:25:52

to create what would be the tallest office block in the City of London,

0:25:520:25:56

a structure that would stand right behind the cathedral.

0:25:560:25:59

The only way to get out of the view is to slope backwards, out of the views.

0:25:590:26:03

So when you're looking, specifically, from the west side of London,

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you would block St Paul's if the building was straight up.

0:26:060:26:10

So we move it sideways

0:26:100:26:12

and you get a sort of A-shape, or, as it's been termed, a Cheese Grater.

0:26:120:26:18

This is it - the Cheese Grater,

0:26:240:26:26

at 122 Leadenhall - a 225-metre, 48-storey office block,

0:26:260:26:33

London's newest skyscraper, as it will look very soon.

0:26:330:26:38

What's made this possible is the creative power of 3-D graphics.

0:26:420:26:48

Rogers' design partner, Cityscape,

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built a virtual 3-D model of the whole of the City of London

0:26:510:26:54

and then plonked into it

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a millimetre-perfect vision of the Leadenhall Building,

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proving, before the first stone was ever laid,

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that it would fit into the existing city.

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And the Leadenhall Building

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won't be the last to make use of this new technology.

0:27:070:27:11

Each one of these structures

0:27:130:27:16

is set to "grace" the skyline in the next few years.

0:27:160:27:21

There must be change, always change,

0:27:210:27:25

as one season, or one generation, follows another.

0:27:250:27:29

When Lord Abercrombie first proposed building a new city after the war,

0:27:290:27:34

it was assumed it could only be done

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by tearing down and starting again, with a great plan.

0:27:370:27:40

In the late 1940s, people believed in planning,

0:27:420:27:47

and they believed that planning was going to create a better London,

0:27:470:27:50

a better Britain and a better world.

0:27:500:27:52

London did change, but not through grand designs or utopian ideals,

0:27:520:27:59

but by commerce and opportunity and the creative energy of its people.

0:27:590:28:04

Today, London is the greatest capital in the world.

0:28:040:28:06

The only competition is New York.

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So it's a big change,

0:28:080:28:09

not only in economics, but in social as well,

0:28:090:28:11

in the vitality of the city. So that's fantastic.

0:28:110:28:14

And it comes out of that marriage of 1,000 years between old and new,

0:28:140:28:19

the more formal -

0:28:190:28:21

the churches, the town halls, city halls, and so on -

0:28:210:28:24

and the wonderful medieval structures and the modern buildings.

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So they all sit together.

0:28:270:28:29

Not everyone loves the way London is changing,

0:28:290:28:32

but London is simply doing what London always has -

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making money,

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making compromises,

0:28:370:28:40

evolving.

0:28:400:28:42

Subtitles by Red Bee Media Ltd

0:28:500:28:53

E-mail [email protected]

0:28:530:28:56

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