The public housing development combines a perimeter type wall of multi storey flats, low rise housing and public spaces and play areas. The wall makes use of a south facing aspect to utilise light and views across the city and of the River Tyne. 20 percent of the accommodation is housed in the wall, but the remaining majority was contained in the low rise houses within.[6] The project took a modern approach to living, yet mixed it with a consideration for those who would reside there, a lack of which has been a criticism of many modernist developments. Eskrine adopted a more humane approach to the modernist principles, yet still established clean lines, function, progress, and above all social morality. He worked his plan around Victorian elements of the area such as churches, and some of the original cobblestones and parts of the demolished Newcastle City Hall, were incorporated into the public areas. Perhaps the integration of local history in this manner, which goes against one of the principles of modernism established by the pioneering architects of the movement, and outlined by Greenhalgh, was a contributing factor to the widely agreed attitude that this project was a success. Although it was expressed that “some missed the streets as places of community and gathering, and as arenas or personal expression.”[7] , The majorities were happy to reside in the new development, thanks to the social continuity and comfortable varied environment provided. This issue was also a concern of Jane Jacobs, author of The Life and Death of Great American Cities. In her book, Jacobs accused Le Corbusier, one of the pioneers of the movement, of an inhumane planning process that did not properly consider those who were to live in the planned developments. She claimed the modernist aesthetic to be dull, and her writing promoted the street, in particular the pavement, as a place where a community can meet, socialise, and control their own privacy.