Museum without Walls has an entire section, ‘Vertical Sausaging Matrixes – Axialise an Iconic Art Hub’ on the practice and cant of regeneration, and Meades has fun with its lobotomised verbiage. All those buildings housing ‘the new, accessibly accessible, fun-style fun-arts which beacon integrated modernising lighthouse revitalisation for everyone ... Everyone can inclusivise re-energising ... Culture will springboard you into the happiness community.’ Most of this is taken from ‘On the Brandwagon’ (2008), which was possibly the first serious critique of the logic and aesthetics of Blairbuilding: ‘Block upon block of “luxury” flats which pleaded to be liked – in the early, needy manner of the Christian Bomber Blair. Block upon block ... decorated with strips of oiled wood, terracotta-coloured tiles, translucent bricks, riveted corten, titanium scales, random fenestration.’ Devoid of its own ideas, this ‘ghost-modernism’ plundered the 1920s, 1930s and 1940s, but drew the line at brutalism, which it replaced, reclad or had demolished.