Shortly afterwards Cullen was commissioned by Erno Goldfinger to paint a mural in the reception area of Westville (now Greenside) Primary School in Shepherd’s Bush, and he also designed a ceramic mural for Coventry depicting the city’s history and its post-war regeneration (1958). When he was appointed a Royal Designer for Industry (RDI) in 1975 Cullen was preparing a travelling exhibition to promote visual literacy both in this country and abroad. The following year he was appointed CBE for his contribution to architecture. only do we experience the harmony released but, equally, the coloursbecome more truly themselves. In a large landscape by Corot, I forgetits name, a landscape of sombre greens, almost a monochrome, there is asmall figure in red. It is probably the reddest thing I have ever seen.

No part of this publication may be reproduced, stored in a retrieval systemor transmitted in any form or by any means electronic, mechanical, photocopying,recording or otherwise without the prior written permission of the publisher personality and uniqueness. Accepting the fact that most towns are ofold foundation, their fabric will show evidence of differing periods in itsarchitectural styles and also in the various accidents of layout. Manytowns do so display this mixture of styles, materials and scales.Again there are lines of advantagewhich can be colonized; the linealong the parapet of a bridge whichpeople seem to prefer for the sake ofthe immediacy of its view and posi­tion is one such (see also line of lifep. III). First among these cases is anticipa­tion. These two pictures clearly arouseone's curiosity as to what scene willmeet our eyes upon reaching the endof the street.

Cullen’s skill as an architectural illustrator was greatly admired and he received many illustrative commissions such as the 1943 County of London Plan; Kynoch Press’s 1940 diary and the 1955 Cambridge Christmas Book, as well as some studies of the State Apartments at Windsor Castle. work for its examples instead of these being culled from the past. Thishas not been done for two reasons. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sourcesin this section. Unsourced material may be challenged and removed. ( February 2014) ( Learn how and when to remove this template message) And yet ... if at the end of it all the city appears dull, uninterestingand soulless, then it is not fulfilling itself. It has failed. The fire has beenlaid but nobody has put a match to it. significant objectsCommon objects often achieve dis­tinction by reason of their self­contained force as sculpture or vividcolour and stand out in the generalscene. The term is used more todescribe those objects such as streetfurniture and structural features,which are not normally expected toattract the eye in this way, ratherthan designed works such as sculpture,posters, etc.deflectionA variation on the closed vista isdeflection, in which the object build­ing is deflected away from the rightangle, thus arousing the expectationthat it is doing this to some purpose,i.e. that there is a place at the end ofthe street as yet unseen and of whichthis building forms a coherent part.This is invariably not so, but de­flection arouses the thought. In a town, a lived-in place, the lay­out of the spaces in which the publicmoves is a matter having a directimpact on the emotions, as hasalready been noted. To rationalizeall these spaces into streets, andworse, a gridiron of streets, seems todeny the nature of people and extola system which is fundamentallyillogical because it is not derivedfrom the character towns are knownto possess. The typical town is not apattern of streets but a scquC/lce of A reminder to civic gardeners iscontained in the picture of a seat atBidston Hill, which carries with it nohint that the land is occupied ormunicipally digested. Here is a seatwhich might have been left by atraveller.