Broken Homes (PC Peter Grant) by Ben Aaronovitch

the roof of the Asbo and glaring at the red metal doors of the fire station.
    When you’re a young copper, the old sweats like to scare you with the horrors of the Job. Eviscerated motorists, bloated floaters and little old ladies who had ended their days as a protein supplement for their house cats were common themes – and so was the smell of burnt human flesh.
    ‘You never get the stink out of your nostrils,’ the old sweats would say and then, without fail, go on to tell you that it was worse when you hadn’t had your dinner. ‘Because then your mouth starts watering and then you remember what it is exactly that you’re smelling.’
    As it happens I was feeling a bit hungry and the memory of the smell was definitely taking the edge off my appetite. Still, I don’t work well on an empty stomach so I bailed at the Bricklayers Arms and found a place that sold industrial strength vegetable samosas – the kind that are spicy enough to anaesthetise your sinuses – and had a couple of those. While I ate, I looked up the National Trust on my phone and spent a fun ten minutes bouncing around their switchboard – they wanted to be helpful but nobody was sure what do with a call from a random police officer. I told them I’d be up at West Hill House within the hour and left them to sort it out. When in doubt, make it somebody else’s problem.
    Mouth full of the last of my samosa, I pulled out into the wet traffic. As I stopped and started my way through the Elephant and Castle I realised that I was actually right next to one of Erik Stromberg’s masterpieces – the Skygarden estate. A concrete spike which had dominated the area until they’d built the Strata building next door. They’d been going to tear Skygarden down in the 1980s, but it had been inexplicably listed. I’d read somewhere that Southwark Council were trying to get the decision reversed so they could finally blow the fucker up.
    Skygarden had been famous for its resident pirate radio station, for being a no-go area where police only ever ventured mob-handed and qualifying as a top spot to commit suicide. It was the original sink estate back in the days before the media started slapping that label on any area with less than two artisanal cheese shops. There were all sorts of rumours about the architect – including one that he’d been driven mad by the guilt for what he’d created and thrown himself off the top. It was all bollocks, of course. Erik Stromberg had lived in luxury in a custom-built villa in the International Style at the top of Highgate Hill until the day he popped his clogs.
    And at least, according to Google Earth, a kilometre from the nearest high-rise flats.
    I went up the steep slope of Highgate West Hill with the houses peeking out from driveways and gated avenues and adding about a quarter of a million quid with every twenty metres of altitude. I turned right onto the summit of Highgate Hill, where most of the buildings dated back to the time when Highgate Village was a rural community that overlooked the stink and noise of London from a safe distance.
    There was a terribly discreet National Trust logo marking the entrance to a drive and an open space beyond marked STRICTLY NO PARKING where I dumped the Asbo. I clambered out and got my first look at the house that Stromberg built.
    It rose above the Georgian cottages like the flying bridge of the SS Corbusier and no doubt in bright Mediterranean sunlight the white stucco would have gleamed but in the cold rain it just looked dirty and grey. There were streaks of green discoloration fringing the top storey – which is what you get when you do away with such bourgeois affectations as gargoyles, decorative cornices and overhanging eves.
    Like a good devotee of the International Style, Stromberg had probably wanted to raise the whole house on pillars, the better for us to appreciate its cubist simplicity. But land has never been that cheap in London, so he’d settled for lifting