Grand old 18th and 19th century corn exchanges can be found in many English towns. There was an explosion in building with the repeal of the Corn Laws in 1846 but this had almost ceased by 1880 due to the growth of cheap imports, and many exchanges were converted to new uses. They often have striking, high-Victorian detailing, polychromatic brickwork, and corn-related bas-reliefs. This in on the exterior of the former Corn Exchange (1875, Grade II listed) in Cambridge, now an events and concert venue. 

Now that automatic baling machines do the hard work, it's rare to see traditional stooks, ricks, and stacks in the fields. Eric Ravilious painted Furlongs (1934) at Peggy Angus' house near Lewes in Sussex; when he visited, he felt ‘he had come to his own country’, wrote Helen Binyon with whom he had a relationship which forms part of the narrative of his wife, Tirzah Garwood's book Long Live Great Bardfield. 

One of the great pleasures of the countryside now is seeing the truly golden fields of corn and stubble, and perhaps clouds of grain dust against the evening sun as the crops are harvested. Many English artists have captured these timeless scenes; this is The Cornfield (1918, Tate) by John Nash (1893-1977), a "gilded vision of corn stooks dancing a jig (or so it seems) on a Buckinghamshire hillside", as James Russell puts it.  

Sadie Speight (1906-92) met her future husband Leslie Martin at Manchester University where they both studied architecture. Despite the fact they formed a professional working partnership, Leslie Martin's name remains well-known whilst Sadie Speight, who according to her obituary "made a contribution in her own right and with her husband to the very best in design today", is often barely a footnote. This is 'Brackenfell' (1937-38) in Cumbria which the two designed for Alastair Morton of Edinburgh weavers; the large window on the right let light into his studio.

In his discussion of new materials used in the interwar period, Gavin Stamp includes Auguste Perret, pioneer of reinforced concrete, and his spectacular Église Notre-Dame, Le Raincy (1922-23). However, he makes no mention of St Andrew's Church (1931) in Felixstowe, thought to be the first reinforced concrete church in the UK, a clever mix of modernity and medieval Suffolk wool church, clearly influenced by Perret. The lead architect was Hilda Mason (1897-1955) who worked with the younger, but later better-known, Raymond Erith (1904-73). This important church is Grade II* listed but now in poor condition.

In Interwar, Gavin Stamp considers several 1930s Art Deco/Modernist factories such as the Hoover Building and the Carreras Cigarette Factory, but omits any mention of the influential and elegant Factory Offices for Aiton & Co (1931) in Derby, designed by Norah Aiton and Betty Scott. As the C20 Society writes, this is "a building which is little appreciated as the first modernist industrial building in Britain. It is built almost entirely of steel, glass and reinforced concrete with steel-framed construction, reinforced concrete floors and horizontal bands of metal-framed Crittall windows glazed continuously on all sides. Norah Aiton commented: 'Nothing like the Derby office has been seen before in England.'"

In 1932, the RIBA Women Architects Committee was established by German-British architect Gertrude Leverkus (1898-1976) to represent the views of the growing numbers of chartered women architects. One whose work could have been included in the survey of housing in Interwar was Margaret Justin Blanco White, who was educated at the Architectural Association (1929-34). She designed 'Shawms' (1938) in Cambridge, now Grade II* listed.