Heritage Statement Submission to Westminster City Council for LISTED BUILDING CONSENT | Guards’ Chapel Organ Project | february 2021

Introduction to the Guards Chapel Organ Project Following initial conversations between Major William Style, The Household Division’s Treasurer, and David Brock, Head of the Government Historic Estates Unit, jurisdiction for the listed building lies with Westminster City Council as local planning authority. Nonetheless, the Household Division being headquartered in Whitehall, the premises at Birdcage Walk have traditionally also engaged the oversight of Historic England. The Guards’ Chapel, as reconstructed in the early 1960s, remains more or less intact without change: minor exceptions are a progressive addition of wall-mounted insignia, colours and memorials. The one major addition since reconstruction is the introduction and later extension of the current organ. Such interior features arrived during that long period of years after the reconstruction when the architect, Bruce George, was an active member of the Guards’ Chapel Committee. It may safely be inferred that the character and location of these additions do fit his architectonic conception, which in effect is the subject of listing. Thus the pattern of what is found today appears to offer pragmatic parameters to the Chapel Committee for further, future interventions. Self-evidently the organ is a ‘fitting’, a component in the listed structure, whose support touches & bears on the fabric of the building, but not of itself an inherent part of the building’s structure. The Chapel Committee has formed the view that any replacement of the organ should retain & adapt the existing structural framework that is found in the present instrument: in other words, the new organ is to continue bearing on and bracing against the fabric of the building in much the same manner as the present organ. The causes for seeking consent to replace the instrument now are two-fold. A. | The existing instrument is decrepit, at the end of its useful life. B. | The Chapel’s functions are much enhanced, more public than when the first organ was installed. On the one hand, the Guards’ Chapel is designated as “The Royal Military Chapel” and takes its place as the primary focus for remembrance in public liturgy of all Service personnel killed or injured in contemporary military engagements. On the other hand, in line with government exhortations to make public edifices of the national heritage more meaningful and accessible to a wider population, successive Senior Chaplains and Directors of Music have established a strong pattern of open concerts and recitals. An organ therefore is required that can perform a variety of roles: Royal Ceremonial, Military Services, Choral Liturgy, Military Band performances, Choral & Orchestral Concerts, Charity Fundraising functions, Solo Organ Recitals and Educational Access by local schools: the current instrument now achieves none of those purposes adequately. All photographic images used in this document are by Jonathan Louth unless credited otherwise.

On Behalf of: Major General, Officer Commanding, London District, The Household Division | Jonathan Louth ARCONSULTING The Guards’ Chapel Organ Project | February 2021

Applicant’s Submission on Heritage | Significance Please refer for further information to Historic England’s Listing Entry: Guards Chapel, Wellington Barracks, Non Civil Parish - 1066441 Bruce George, remaining active on the Guards Chapel Committee till the age of 93 [c. 2009], it may safely be assumed that any insertions and embellishments to date have had his imprimatur and that any further works should match his restraint.

The Guards’ Chapel Committee has the care of a building that, after comprehensive double bombing during WWII, is fundamentally a new construction and a new architectural conception. Historic England’s listing description [appended to this submission] is among one of the best. Whilst the architect of the original Chapel of 1838 is not recorded, it is assumed to be the work of Sir Frederick Smith in consultation with Philip Hardwick. The description makes clear that Street’s 1877-79 apse and Goodhart-Rendel’s 1955-56 memorial cloister are significant. More relevant to an assessment today than those two pre-War remnants is the fact that the reconstructed Chapel was listed on 9th January 1970, well ahead of the 30-year rule, whereby in practice it is rare to list new buildings until they withstand the test of public and architectural opinion over 30 years. These then are the three particular features of special interest that warrant listing as II*. Whilst the earlier “fragments" technically permit the listing in 1970, it is the skill of Bruce George’s 1962-63 Chapel that forms the fundamental matter.

George’s conception is less Brutalist than cursory critics like to suggest. One should take note that the barracks scheme by George Trew Dunn [GTD] as architects in fact post-dates the Chapel by more than a decade. George works the materials to a finer and more finished manner than the character of Brutalism. On close inspection, the Chapel conceived by George is neo- Renaissance. As Street’s apse models the rich Lombardo-Byzantine style, so also George’s Royal Military Chapel for the Household Division apes the Italian, hill town, hall church tradition.

The brilliance of George’s work might appear to some reviewers to arrive out of nowhere: GTD undertakes no ecclesiastical work after the Guards’ Chapel. However, the early roots of GTD as a firm [first set up in 1908 by Pite] were markedly steeped in ecclesiastical design: George himself will have worked closely on major churches as an assistant alongside Sir Donald Gibson - through whose recommendation George was brought to this commission.

PAGE 2 OF 22 Bomb Damage image courtesy of The Household Division Calcata Vecchia public domain image www.italyheaven.co.uk/lazio/calcata.html for: The Household Division | Jonathan Louth ARCONSULTING The Guards’ Chapel Organ Project | February 2021

George’s consummate skill is to create a setting of serene balance and quietude for Street's highly decorative, polychromatic apse - including two salvaged liturgical fittings which he integrates into the scheme - and Clayton's earlier salvaged stained glass, which he sets into the west wall in the manner of Coventry Cathedral’s modern west front, not to ‘presage’ the interior character but to subtly filter the bright external light as it streams into the less bright interior aura.

What one perceives, on entering, is a succession of screens through which one passes to approach the sanctuary: west wall, narthex arcade, chancel proscenium, quire wall, apse. George sets up a ‘cone of vision’ which emanates beyond the nimbus of the risen Christ in the top of the apse and then widens to fill the width of the Chapel at eye-level beside the narthex screen: with this device, George ensures the first view of Street’s apse includes his own proportionate architrave arch, all precisely & completely seen on entering the Chapel from the Goodhart-Rendel cloister.

Plan at upper organ level by courtesy of Harrison & Harrison Ltd.

west wall, narthex arcade, chancel proscenium, quire wall, apse

PAGE 3 OF 22 1963 RIBA Collections image public domain www.architecture.com/ image-library/RIBApix/image-information/poster/guards-chapel-wellington-barracks-st-jamess-park-london-the-nave-looking-towards- for: The Household Division | Jonathan Louth ARCONSULTING the-original-apse-b/posterid/RIBA75021.html The Guards’ Chapel Organ Project | February 2021

George finds the early C19th Chapel [Smith/Hardwick] fundamentally destroyed: the subject of some archival research - by Robert Bowles - it is inconceivable that he kept any of the east quire wall. What was a diagonal plan of two attached pillars and a central shaft either side of the apse - to turn direction from Street’s north-south-apsidal arch to the prior east-west alignment of the original chancel/transept arcade - is converted into an architrave arch by George using a closely matching scheme of marbles to align with the apsidal plane. What had been a margin of diamond, tessellated tiles around Street’s apsidal arch is turned into a barely perceptible plaster margin, whose function is to enlarge the arc of influence of the arch itself. Then the front face of the galleries is set back, by a specific distance, from that plaster margin. There is now an absolute zone of architectonic influence, which cannot be encroached upon, which replaces the C19th tessellated margin and creates a new vestigial ‘arc' surrounding the apse arch. That vestigial ‘arc' is traced, in effect, at double the distance between the edge of George’s marble pilasters and the pentelic [var. vulg. pantelic] marble face of the galleries.

PAGE 4 OF 22 C19th Chancel public domain image www.pinterest.co.uk/pin/155163149632100218/ for: The Household Division | Jonathan Louth ARCONSULTING The Guards’ Chapel Organ Project | February 2021

The apse, vestigial arc and chancel proscenium then establish the ‘First Layer of View’, the quietest scene-setting for the apse, with almost no other visual complexity engaged.

The First Layer of View is witnessed by anyone entering the Chapel and must not be intruded upon by the organ frontage. The extent of this cone-shaped view from the narthex was described first by Jonathan Louth [cf. above] and then agreed with Harrison & Harrison’s representatives. The Second Layer of View is filled with subtle complexities, which are gradually revealed and can be observed as one proceeds up the nave from the west end. This gradually emerging wide-angle view includes the front of the organ, its current lack of symmetry being tolerated to the extent that it remains in sympathy with the many other vertical, horizontal and reflecting sight lines that contribute to the interior of the Chapel. I address the secondary sight lines in the cone of vision at my statements below regarding the front of the organ.

George’s whitened box is simultaneously a backdrop for the muted polychromatic regimental colours that he knew would successively occupy the walls of the nave and which introduce a quasi-Mannerist [Baroque] patterning – an intricate rhythm of movement - into the severe vertical & horizontal rhythms of his architectural box. These - together with the successive accretion of commemorative crosses in their distinctive Guards proportion - are near enough the only non-architectonic features in an interplay of striations & rhythms that has not changed since George’s Chapel was opened in the presence of a prince-duke, an archbishop, and a bishop. HM the Queen was not present, having attended the earlier opening of Goodhardt-Rendel’s cloister.

The original listing in 1970 can have made no mention of the Organ. Its arrival in 1971 on the north organ gallery - replete with a flamboyant Venetian horizontal trumpet section above the south musicians’ gallery opposite - and its subsequent enlargement represent a substantial insertion of a ‘fitting' into the listed building. There is no readily accessible record whether that was undertaken with secular or ecclesiastical consent.

The amendment to the schedule of listing - simply stating that the organ was installed and subsequently enlarged - indicates that the current instrument is of no architectural significance.

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Whilst a full technical specification can be found on the National Pipe Organ Register (NPOR) at https://www.npor.org.uk/NPORView.html?RI=N07766, Dr William McVicker will have evidenced to the satisfaction of the Guards’ Chapel Committee that it is also not of instrumental significance. Pertinently in respect of plans to remove the existing instrument, the organ is not listed by the British Institute of Organ Studies’ (BIOS) Historic Organs Certificate (HOC) scheme.

It is not for subsequent generations to compete with Street's sparkling polychromy, nor to paraphrase Goodhart-Rendel’s neo-classicism, nor to decorate George's serene box: specifically, the organ cannot be argued as mediating or mitigating those three characters with a fourth, forceful, visual busyness. The new organ takes its place adequately well, using a restrained palette of timber and metalwork, if those both match the subdued palette of the laid-up regimental colours and set up a well-tempered visual rhythm: the new organ at the reconstructed church for the Parish of Dulwich St Barnabas displays just such a muted palette.

PAGE 6 OF 22 St. Barnabas Dulwich public domain image London Churches In Photographs for: The Household Division | Jonathan Louth ARCONSULTING https://londonchurchbuildings.com/2018/11/07/st-barnabas-calton-avenue-dulwich/ The Guards’ Chapel Organ Project | February 2021

The Clarke cast aluminium screens - Passive Standard [North] and Active Standard [South] - were originally day-lit on both faces: the 1971 organ establishes precedent that daylight no longer need filter through from the chancel back into the nave. Daylight from George’s high level skylights is still visible through both screens at an upper level above the instrument: that is desirable as it demonstrates the integrity and size of the hall church ‘box’, clarifying how George’s chancel screen is indeed a proscenium and not a transition in architectonic mass or form.

Thus, if the Clarke screen on the organ side is backed as today, by a suspended, perforated screen as at present - masking the comings & goings on the organ loft stairs from the congregation - and rising near to the ceiling but not closing off the skylights above, then a matching screen can be erected to the musicians' gallery [replicating the current situation]. However, where the 1970s gold-painted screen obscures the filigree of the two sculptures, it would be incumbent upon the project to improve the legibility of Clarke’s work

In detail then, the new organ should not encroach in any way forward (South) of the rear plane of the gallery wall. • The steel balustrade rails, whether raised for safety or not, must progress west-to-east unimpaired and not interrupted by the instrument. • Coupled with this provision, the organ front should ideally not encroach upon the backlighting behind the chancel proscenium arch. • There is a narrow line of sight from the south-centre frame of the west doors that also, ideally would be kept clear. There is a broader line of sight from the south-centre pillar of the narthex arcade where, if the organ could be held behind that alignment, would be unarguable in listing terms. • The organ frontage should be calm, even, and in a single plane, the pattern of the pipes echoing the diaper rhythms of the regimental colours. • That being so, the instrument case should also be ordered with an eye to rhythm rather than intricacy: yet it should recognisably be a work out of Harrison & Harrison’s stable, as they too are progenitors of a long-standing, evolving heritage of international repute. • The colouration of the organ front and exposed ranks should be a closer match to the muted palette of the regimental colours than competing with the sparkling palette of the apsidal mosaics.

PAGE 7 OF 22 1963 RIBA Collections image public domain www.architecture.com/ image-library/RIBApix/image-information/poster/guards-chapel-wellington-barracks-st-jamess-park-london-the-nave-looking-towards- for: The Household Division | Jonathan Louth ARCONSULTING the-original-apse-b/posterid/RIBA75021.html The Guards’ Chapel Organ Project | February 2021

Outline Submission on the Instrument | Need [with acknowledgments to Dr William McVicker, Organ Consultant]

The chancel pipe organ The Post-War Chapel was initially furnished with an electronic instrument. In 1969, the wish for a pipe organ was published through the Guards’ Magazine and the plea was picked up by the Daily Telegraph. Within a few weeks, the request had been answered, and the instrument from the Organ Room at Glyndebourne was offered since it had become redundant to the Christie family’s purposes. Glyndebourne’s instrument had itself been formed in part out of a 100-stop house organ that belonged first to J.M. Boustead of Wimbledon Common [resident of what is now the Cannizaro Hotel]. Principal pipework from Glyndebourne was used as source material to form a three-manual instrument in the Guards’ Chapel with a Neo-Baroque character [and much of Glyndebourne’s redundant pipework was altered beyond]. Thus the organ was fashioned into an instrument suitable for the Guards’ Chapel by Hill, Norman & Beard and installed in 1971.

The pipework was located on both sides of the chancel; the main part of the instrument is contained on the north side and a horizontal Trompette en chamade (available by extension at 8ft and 4ft pitch) was installed high in the musicians’ gallery on the south side. At some point mentioned in the listing, the instrument was enlarged. In 1992, in addition to the prior extension, the organ was fitted with two additional stops, using digital technology. These were a response to enable the instrument to have greater presence when accompanying a full congregation.

The organ’s visual character The façade of the north, principal organ by Hill, Norman & Beard was designed in collaboration with George Trew & Dunn and the Department of Environment [the departmental section at that date responsible for works in government properties]. It follows a trend of the period, providing a modest, functional display of un-encased speaking pipes, sitting on horizontal bands of French polished timber arranged in three flats [or vertical sub-divisions], hosting diapasons of natural speaking lengths; visible pipework was finished in grey Hammerite metal paint.

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The substantial diapasons on the right-hand section of the façade have larger pipes from the same rank protruding behind, an examination of the façade casework indicates relatively clearly how a west section of instrument is joined to an east section: subject to archival information turning up to the contrary, it can be surmised that this dislocation in the joinery and a subtle change in its calibre indicates the original and subsequent sections.

One third of the façade is clad in an acoustically transparent fretwork of repetitive design in gold- painted timber. Surmounting the whole is a coarsely crenelated, gold-painted tone-cabinet for the Great Organ. The instrument sits on a frame featuring decorative gold-painted verticals and crudely proportioned two-dimensional Celtic crosses on an horizontal timber panel painted in dark green. A light veneered timber soffit hosts many downlighters illuminating the organist’s gallery. The organ console is partially concealed from view by a simple dark-wood trellis surmounted by three-dimensional black-painted crosses. The musicians’ south gallery has the display of horizontal, chamade reed stops with tin, flared resonators.

As mentioned above, the organ is not listed by the British Institute of Organ Studies’ (BIOS) Historic Organs Certificate (HOC) scheme. A full technical specification can be found on the National Pipe Organ Register (NPOR) at https://www.npor.org.uk/NPORView.html?RI=N07766 .

This 36-stop organ is considered inadequate for the current musical needs of the Chapel. In technical terms, the instrument is a mix-and-match of insignificant pipe ranks and the action [stops, keys, couplers] are fragile: in practical terms, maintenance access within the present instrument is very limited and tonal egress is poor on account of the cluttered interior layout.

The removal of this instrument is neither detrimental to the Guards’ Chapel nor any great loss to the canon of organs

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The Call for a new Organ | Need [with acknowledgments to Mr Martin Ford, Organist & Director of Music]

The use of the Chapel has changed over the last five decades. In addition to all the normal services (Sundays, baptisms, weddings, funerals, memorial services, carol services and other special services) that are conducted as much as ever in the Chapel, a principal change compared with the 1970s is that there are many more recitals now. Military bands and civilian musicians are presenting increasingly regular recitals in the Chapel, in addition to the building hosting major fundraising events and services for charities and public bodies. The pipe organ is an important part of these musical presentations, but the limitations of the current instrument continually & frequently prove to be a significant constraint on musical possibilities.

Music in the armed services is essential to the moral component of fighting power; it inculcates tradition, identity, and culture, inspiring soldiers to undertake difficult and life-threatening tasks on behalf of government and society. The Guards’ Chapel continues to serve as a focal point for some of the finest traditions of military music. To support this most efficiently and effectively, the Chapel requires an organ that can effectively promote the values and standards of the Army.

The programme of concerts in the Chapel is thus seen as a key plank in the Chapel’s musical outreach. The organ needs to be an important part of this work and the present instrument is no longer fit for purpose. The new pipe organ in the Chapel is required to undertake a number of specific musical tasks: • To permit the full range of accompanied professional choral music (sung by a professional choir) to be successfully performed at the wide variety of services held at the Chapel. • To lead a full congregation at ceremonial services, regularly attended by members of the Royal Family and Her Majesty’s Government, for which the instrument requires more power and weight in its tone. • To play with the various military bands of the Household Division - during liturgical services and in concert - and deploy a great variety of weight, tone, drama, volume in order to adjust to a wide gamut of ensemble sizes. • To support many other opportunities, including outreach to local educational establishments (specifically through recently-established links with Westminster School), • To sustain and enhance a programme of regular solo organ recitals, evening concerts, and performances with and without Household Division musicians.

In order to serve these needs, a new organ must • Overcome the buried acoustic position within the chancel arch by drawing the instrument further forward than its present location • The internal layout of components needs to be less cluttered and constricted than the present cramped arrangement, in order for sound to get down the building more effectively • The new instrument needs to comply with modern H&S guidelines to allow tuning and maintenance • The entire instrument should be located on the north musicians’ gallery to allow the bands to use the south side; this means disconnecting the horizontal reed stop on the south side [the installation will be retained to permit reversal for future changes in musical style or taste].

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Author’s credentials CURRICULUM VITAE JONATHAN LOUTH ARCHITECT ACCREDITED IN BUILDING CONSERVATION & INTER-DISCIPLINARY ENABLER STATUS Mr Jonathan Charles LOUTH - BA (Hons)Arch. | Dip.Arch. | M.St.(Cantab.) | ARB Reg.Arch. | DAAD-Stipendiat | ACArch. | AACB. | FRSA. Principal, Jonathan Louth ArConsulting [Architects]

EDUCATIONAL BACKGROUND (FULL-TIME, PART-TIME & TRAINING) xi. Master of Studies, Interdisciplinary Design for the Built Environment, Cohort IDBE4, Departments of Engineering and Architecture, University of Cambridge (Wolfson College) 1997-2000 x. Common Purpose City Leadership Programme, South East London 1994-1995 ix. RIBA Part III Qualification, Registered Architect no. 051173K, University of Bristol 1984 viii. Practical Training Year II, Howell Killick Partridge & Amis Architects, Westminster 1983-84. vii. Diploma in Architecture (Bristol Society of Architects Student Prize) University of Bristol 1981-83 vi. DAAD Stipendiat [Scholar, German Academic Exchange Service], RWTH Aachen, Germany, Department of Town and Regional Planning 1980-1981 v. Practical Training Year I, Alec French Partnership Architects, Bristol 1979-1980 iv. Batchelor of Arts, First Class Honours in Architecture, University of Bristol 1976-1979 iii. GAP Activity Projects German British Youth Exchange Berlin 1976 ii. Science Scholar, Wellington College, Berkshire 1971-1975 10 'O' Levels, 4 'A' Levels, Use of English i. Cathedral Chorister, The Pilgrims School, Winchester 1967-1971 Cathedral Choir Probationer, Westminster Cathedral School 1966-1967

CAREER TO DATE (ORGANISATIONS, JOB TITLES, MAJOR CHANGES) vii. Principal, Jonathan Louth ArConsulting [Architects], Greenwich 1987 - present day: Westminster Branch Office established 1994 - Practice operations relocated to Southwark in 1999. vi. Consultant Architect, Paul Davis & Partners Architects, Westminster 1994-1998 v. Practice Associate (freelance) Davis & Bayne Partnership, Wandsworth 1989-1994 Consultant Architect (freelance) Triforia Interior Design, Wandsworth 1989-1992 Project Architect (freelance) Davis & Bayne Partnership Architects, Wandsworth 1987-1989 iv. Job Architect, HMP Belmarsh, Plumstead, Howell Killick Partridge & Amis Architects, Westminster 1984-1987 iii. Architectural Assistant, HMP Belmarsh, Plumstead, Howell Killick Partridge & Amis Architects, Westminster 1983-1984 ii. Europa Project Advisory Participant - EEC Joint Study Programme, Brussels 1982-1983 i. Architectural Assistant, Taunton Shopping Centre, Alec French Partnership Architects, Bristol 1979-1980

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SELECTED EXPERIENCE | ECCLESIASTICAL, ORGAN AND WESTMINSTER/WHITEHALL/MOD ESTATES Archbishop’s House, Southwark – Pugin/Walters Listed building consents 2014- present day St George’s RC Cathedral Southwark – Pugin/Craze Listed building and development consents 2003- present day including WW1 Commemorative Cathedral repair grants Rounds 1 & 2 St George’s RC Cathedral – Compton Organ restoration with Dr William McVicker St George’s RC Cathedral – St Oscar Romero diocesan shrine with Fernando Llort for the Archbishop Romero Trust Aylesford Priory, Kent – Development Analysis for RC O.Carm community house and “Poustina” retreat facility Aylesford Priory – Feasibility Scheme for Archdiocese of Southwark Youth Service pastoral retreat centre Guards’ Chapel, Household Division – New Organ heritage consultant with Dr William McVicker St George the Martyr Borough – Fr Smith Organ appeal with Jonathan Pix St George the Martyr – CRRF grant-funded repair of parapets, masonry with reordering of West porches/doors Richmond House, Whitehall – William Whitfield buildings - Alterations and Conservation Architect [2000-2014] Royal Arsenal Woolwich – Planning Strategy Study for Greenwich Council [1995-96] Old Royal Navy College – Listed Building and Planning Strategy Study for The Foundation’s Visitor Centre [2004] The Gate House, Court Yard, Eltham Palace, London SE9 5QE – Application to Crown Estate, former HQ RAEC Grosvenor - 6-9 Lower Grosvenor Place, London SW1– feasibility development/refurbishment options study Grosvenor - 27-29 Victoria Square and 18-24 Buckingham Palace Road, London SW1– ditto, as above

VOLUNTARY COMMITMENTS & INTERESTS i. St Joseph's (East Greenwich) Community Centre, Executive Committee member 1992-1998 ii. St Joseph's R.C. Church, East Greenwich, Finance Committee member & Organist, 1989-1998 iii. Winchester Cathedral Old Choristers' Association, Chairman 1990 - 1999, Secretary 1977-1990 iv. Choir Ensemble member – (successively) Aachener Chor Verein, Camden Chamber Choir, Singers of London, Lecosaldi Ensemble, Moving Voices, New Renaissance Voices, Thomas Tallis Society 1981–present day iv. Founder and Ensemble member – ArchiCantuor | ArchiCantiores (Singing & Performing for the Architectural Heritage) and Voices Various (Words & Music for Charitable Causes) 2009/2010 –present day v. Lay Clerk: Bristol Cathedral 1979 – 1980, St George’s RC Cathedral (Supernumerary 2001–present day) vi. DAAD Stipendium Alumnus/German Academic Exchange Service 1981–present day vii. Fellow of the RSA (Royal Society for the encouragement of Arts, manufactures and commerce) May 2013

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PROFESSIONAL/HONORARY APPOINTMENTS: i. Cathedral Architect, St George's Roman Catholic Metropolitan Cathedral, Southwark 2003–present day

Previously Fabric Committee Member 2000–2003

ii.a Member, Cathedral Architects Association 2015–present day

previously Corresponding Member, Cathedral Architects Association 2003–2014

ii.b Ordinary Member, Europäische Vereinigung der Dombaumeister, Münsterbaumeister und Hüttenmeister: Dombaumeister e.V. European Association of Cathedral Architects 2016–present day

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iii. Advisory Architect, Wolfson Grants Committee, Cathedral & Church Buildings Division, 2011–2020

iv. Estates Advisor to Trustees & Board of Directors for the Carmelite Friars, Aylesford Priory, 2012–present day

Development Consultant to Trustees & Provincial Council for the Carmelite Charitable Trust, 2013–present day

PAGE 14 OF 22 for: The Household Division | Jonathan Louth ARCONSULTING The Guards’ Chapel Organ Project | February 2021 v. Immediate Past [& Founding] Trustee, Board Member of Directors for the Royal Borough of Greenwich Heritage Trust, 2013–2018

vi. Quinquennial Architect, Anglican Diocese of Southwark, 1994–present day

Quinquennial Architect, Anglican Diocese of London, 2016–present day

PAGE 15 OF 22 for: The Household Division | Jonathan Louth ARCONSULTING The Guards’ Chapel Organ Project | February 2021 vii. Chair & non-executive Director, South East Enterprise Ltd (not-for-profit business support & training agency) 2007–2011

viii. Council Member & non-executive Director, Association of Consultant Architects 2002–2008 Co-Opted Council Member, Association of Consultant Architects 2008–2019 Group Member, Association of Consultant Architects Planning Advisory Group 2001–present day Group Member, Association of Consultant Architects Legal & Contracts Advisory Group 2007-2018 Advisor, Association of Consultant Architects Historic Buildings Committee 1994–1996

PAGE 16 OF 22 for: The Household Division | Jonathan Louth ARCONSULTING The Guards’ Chapel Organ Project | February 2021 ix. Freeman elect of the Worshipful Company of Chartered Architects 2003–present day

x. Specialist Advisor (Planning, Transport & Environment) Common Purpose City Leadership Programme, South East London (a registered educational development charity for young decision-takers involved in a local or professional field) 1995– 2000

LOCAL AUTHORITY PARTNERSHIP COMMITMENTS:

Greenwich Regeneration: i. Greenwich (Strategic) Partnership Founding Board Member 1999–2012

Vice-Chair (Business Sector) 1999–2000

SRB Delivery Board Member, Greenwich Development Agency 1995–2003

PAGE 17 OF 22 for: The Household Division | Jonathan Louth ARCONSULTING The Guards’ Chapel Organ Project | February 2021 ii. The Maritime Trust, Cutty Sark Working Group member, business/regeneration adviser on remedial funding appeal body 2002–2005

iii United Nations Association Local Agenda 21 Pilot Project (Sustainable Communities) Greenwich co-opted advisor 1994 iv. Greenwich Waterfront Development Partnership (GWDP): - GWDP Co-Chair (Business Sector) 1999– 2000 - GWDP Board Member and Vice Chair (Business) 1997–1999 - Chairman, Greenwich Business Forum 1997– 2000 - Vice Chairman/Acting Chairman, Greenwich Business Forum 1996–1997 - Board Member, Greenwich Tourism Partnership 1997–2000 - Council Member, South London Training & Enterprise Council 1997–2000 - Member of the Greenwich Millennium Trust Forum 1996–2000

v. Founding Chairman, East Greenwich Town Centre Management Agency 1994–1998, EGMA Agency Member (Business Sector) 1998–2005

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Guards Chapel, Wellington Barracks, Non Civil Parish - 1066441 | Historic England 25/06/2020, 12)27 Guards Chapel, Wellington Barracks, Non Civil Parish - 1066441 | Historic England 25/06/2020, 12)27

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Guards Chapel, Wellington Barracks

Overview

Heritage Category: Listed Building

Grade: II*

List Entry Number: 1066441

Date first listed: 09-Jan-1970 © Crown Copyright and database right 2020. All rights reserved. Ordnance Survey Licence number Date of most recent amendment: 26-Apr-2012 100024900. © British Crown and SeaZone Solutions Limited 2020. All rights reserved. Licence number 102006.006. Location Description: Royal Military chapel and cloister, south of Birdcage Walk, Wellington Barracks Use of this data is subject to Terms and Conditions . Statutory Address: Wellington Barracks The Royal Military Chapel, Birdcage Walk SW1 The above map is for quick reference purposes only and may not be to scale. For a copy of the full scale map, please see the attached PDF - 1066441.pdf((

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This copy shows the entry on 25-Jun-2020 at 12:26:12.

Location

Statutory Address: Wellington Barracks The Royal Military Chapel, Birdcage Walk SW1

The building or site itself may lie within the boundary of more than one authority. Location Description: Royal Military chapel and cloister, south of Birdcage Walk, Wellington Barracks https://historicengland.org.uk/listing/the-list/list-entry/1066441 Page 1 of 8 https://historicengland.org.uk/listing/the-list/list-entry/1066441 Page 2 of 8

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Guards Chapel, Wellington Barracks, Non Civil Parish - 1066441 | Historic England 25/06/2020, 12)27 Guards Chapel, Wellington Barracks, Non Civil Parish - 1066441 | Historic England 25/06/2020, 12)27

County: reconstruction of the chapel and employed the architect GE Street. His design, in the Lombardo-Byzantine style that was favoured for Greater London Authority military chapels of the mid-C19, provided a nave and aisles with round-arched arcades and barrel-vaulted ceilings and an apsidal chancel. Ceiling vaults were picked out in alternate ribs of Bath stone and Roman red brick. The rich decoration included mosaic in District: the chancel designed by JR Clayton of Clayton and Bell and executed by Salviati, Burke & Co, 28 semi-circular terracotta lunettes by City of Westminster (London Borough) George Tinworth and stained glass by JR Clayton that together depicted stories and events from the Old and New Testaments. Much Parish: of the money was raised by families in memory of soldiers and o!icers who had served in the Brigade. Although a large proportion of Non Civil Parish the work was completed for the reopening of the chapel on 25 May 1879, the decoration of the apse continued therea"er and more embellishments and memorials to individual members of the Brigade were added as money was subscribed. National Grid Reference: TQ2951879592 The chapel su!ered superficial damage early in the Second World War. Temporary repairs to the roof were carried out by HS Goodhart-Rendel in 1940, a former o!icer in the Grenadier Guards and at one time President of the RIBA. However, on 18 June 1944 the chapel was largely destroyed by a flying bomb that struck the north-west corner, killing 120 people; the apse and chancel remained unscathed to the point that the candles lit during that service remained alight throughout the disaster. Restrictions on Summary building a"er the war meant that a temporary chapel was needed; a Romney Hut was erected inside the ruins of the chapel and used Guards’ Chapel for the Household Division, 1838, 1877-9, 1955-6, 1962-3. until 1962. Rebuilding finally commenced in 1955-6 with HS Goodhart-Rendel’s War Memorial Cloister which housed the Regimental Rolls of Honour of all those who died while serving from 1939-1945. The Cloister would provide an entrance from Birdcage Walk to The architect of the original chapel of 1838 is not recorded, but it is assumed to be the work of Sir Frederick Smith in consultation with Goodhart-Rendel's chapel. The Cloister was dedicated on 28 May 1956 in the presence of Queen Elizabeth II. Unfortunately Goodhart- Philip Hardwick. Re-modelled 1877-79 by GE Street; destroyed 1944 except for the chancel and apse. War Memorial Cloister 1955-6 by Rendel died before he could finish the plans for the rest of the chapel. HS Goodhart-Rendel. Chapel, incorporating existing fabric,1962-3 by Bruce George of George Trew and Dunn Architects. The commission for a new chapel was given to Bruce George of the architectural practice George Trew and Dunn. The design for the chapel was approved in 1961 and building work started in 1962. The brief set out to integrate Street’s apse and chancel, Clayton’s stained glass windows and Goodhart-Rendel’s cloister with a new building, constructed on the existing foundations. The majority of Reasons for Designation the furnishings and fittings were provided as gi"s or memorials. The chapel was completed in November 1963 and dedicated on 26th November by the Archbishop of Canterbury in the presence of Prince Philip, Duke of Edinburgh representing the Queen, the Queen The Royal Military Chapel or Guards' Chapel is listed at Grade II* for the following principal reasons: Mother, Princess Margaret, Princess Royal and Princess Alice, Countess of Athlone. The chapel was awarded the Civic Trust Award in 1964. *Architectural Interest: designed as a ceremonial place of worship and memorial, at all stages of its evolution the Guards Chapel has stood out from the body of military chapels for the attention to detail and high quality of the interior and in the 1960s rebuilding for Continuity of site and purpose was fundamental to the design of the new chapel, which despite the structural di!iculties this the architectural quality and significance of the new chapel as a whole; a modern, forward-looking interpretation of the neo-classical imposed, was built on the foundations of Street's chapel. The concept of the building as a classical temple reflected the neo-classical ideology that informed the original chapel, echoing the restrained austerity typical of military chapels; *Fixtures and Fittings: later C19 ideology of the original chapel. The chapel embraces Street’s apse without attempting to emulate it, allowing the high quality and sanctuary designed by GE Street, with mosaic by Clayton and Bell executed by Salviati, Burke and Co and stained glass by JR Clayton interest of the interior of the apse to form the focal point of the new building. It also incorporated Goodhart-Rendel's Memorial now in the nave; throughout the chapel, fixtures and fittings donated as memorials; post-war memorial cloister; regimental colours Cloister, the only section of his post-war project to be built, by setting up a cross axis at the west end of the chapel that creates a some dating to C17; *Historic Interest: memorial chapel associated with the Household Division of the Guards. processional route and vista between the cloister and the Household Division Cenotaph in the nave.

The high quality of materials and cra"smanship of the interior of both Street’s apse and Goodhart-Rendel’s cloister, both very di!erent architecturally, are matched by the careful choice of materials and detail in the new building. It successfully incorporates surviving elements of the earlier chapel – its glass and the font - without attempting revivalist reconstruction, while embracing new materials History and fixtures that were donated by regiments associated with the Guards, that in turn contribute to its significance. The building does not attempt to assert the importance and dignity of its purpose as a memorial through anachronistic pastiche or reconstruction but is The Guards’ Chapel, or Royal Military Chapel as it was originally known, was built in 1838 as the place of worship for the Household a building of its time, suitable to the needs of a modern army, and achieved in its structure and aesthetic. This attitude was Brigade, now termed Her Majesty’s Household Division. The Division comprises the Guards Division which is five regiments of Foot fundamental to the brief for the design of the new barracks that followed. Guards - Grenadier, Coldstream, Scots, Irish and Welsh - and the two regiments of the Household Cavalry -The Life Guards and The Blues and Royals. For several centuries these soldiers have been integral to almost all the major campaigns that involve the British The setting of the chapel also resonates with the design and purpose of other post-war memorials and chapels such as the memorial Army and are recognised for their supreme professionalism both in combat and ceremonial duties. at the American Cemetery, Madingley. The reflective pool to the west of the Memorial Cloister was outlined in the 1961-2 scheme and constructed in the early 1970s. The memorial garden to the north of the chapel was installed in the 1980s and consists of a fountain The Guards did not have a place of worship when the Wellington Barracks were built in 1834. Dr William Dakins, Precentor at and planting in the shape of the Brigade insignia. A bronze statue to Field Marshal The Earl Alexander of Tunis (1891-1969) by James Westminster Abbey, appointed as Chaplain to the Household Brigade in 1797, later becoming Principal Chaplain to the Forces, was Butler (1985) stands to the north-west of the chapel. committed to ensuring a place of worship was provided; the first service took place on 6th May 1838. The architect of the first chapel is not recorded but it is assumed that it was the work of Sir Frederick Smith, Royal Engineers, in consultation with Philip Hardwick. It was ARCHITECT'S BIOGRAPHIES GE Street (1824-81) was one of the greatest figures in Victorian architecture. Although born and educated neo-classical in design, a Greek Doric temple, a form that could accommodate a congregation of over 1000. The interior was plain and in London he was articled to the Winchester architect Owen Carter from 1841. He then spent time in the o!ice of George Gilbert Scott devoid of any embellishment which became cause for criticism. In 1876 a committee was formed to initiate plans for the https://historicengland.org.uk/listing/the-list/list-entry/1066441 Page 3 of 8 https://historicengland.org.uk/listing/the-list/list-entry/1066441 Page 4 of 8

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Guards Chapel, Wellington Barracks, Non Civil Parish - 1066441 | Historic England 25/06/2020, 12)27 Guards Chapel, Wellington Barracks, Non Civil Parish - 1066441 | Historic England 25/06/2020, 12)27 from 1844 before commencing practice in Wantage in 1848. Growing success led to a move to London in 1856 and a career which saw Memorial Garden is lit by a row of 52 plain, vertical, slit-windows at lower level. Six full-height openings at the east end form a closed him become one of the leaders of the Gothic Revival. Much of his work is characterised by a strong, muscular quality which was much east portico that envelopes the C19 apse, which is finished in gold-painted render. A small bell turret rises from the north wall of the admired from the 1850s. He was also an early pioneer of the use of polychromy. His most ambitious work is the Royal Courts of Justice nave, above a cross fixed to the nave wall. The inscription on the bell is taken from I Kings, ch. 9, v. 3, the text used by Dr Dakins in his in London for which he gained the commission in 1868. He was diocesan architect for Oxford, York, Winchester and Ripon. He was sermon at the dedication of the original chapel – 'I have hallowed this house which thou has built, and Mine eyes and Mine heart shall awarded the RIBA Royal Gold Medal in 1874. His fame and status is reflected in the fact that, like his former master, Scott, he is buried be there perpetually.' The east end is plain except for a recessed panel and plaque inscribed with the Household Division’s insignia in Westminster Abbey. with the motto ‘Septem Junta In Uno – Seven Joined in One’. The south elevation is staggered, as if the wall has been peeled back from the main structure, in six equal bays which accommodate the Regimental Cloisters; each bay has a narrow south-west facing HS Goodhart-Rendel (1887-1959) was a key figure in both the 'traditionalist' school of C20 century British architecture and the post- window supported by a horizontal metal truss containing a cross. war revival of interest in Victorian design. An Anglican by upbringing and a Roman Catholic by conversion, he did much work for both churches, whether in the Arts and Cra"s Gothic manner of Holy Trinity, St Leonards-on-Sea (1945-54) or the Byzantine-Romanesque The Memorial Cloister, in a traditionalist classical revival manner, projects north at right angles towards Birdcage Walk. It is of red brick style of Holy Trinity, Bermondsey (1951-60). Familiar with the repair of bomb-damaged buildings, he was responsible for the on a tall Portland stone plinth and with other stone dressings. The single-storey, enclosed cloister is of five bays of which the end bays restoration of the church of St John the Divine, Lambeth of 1870-74 by GE Street. He was president of the Architectural Association in are top lit. It has a continuous, deep eaves cornice with moulded brackets, above a moulded entablature. The east elevation is 1924-5, Slade Professor of Fine Art at Oxford in 1933-6, and president of the Royal Institute of British Architects in 1937-9. In 1958 he punctuated by stone-lined, round-arched blind alcoves. To the north, steps enclosed by parapet walls lead up to the entrance which became a founder member of the Victorian Society, reflecting a lifetime's study and admiration of the architecture of the C19 breaks forward slightly. A pair of panelled entrance doors in a wreathed architrave are flanked by square pilasters, one-and-a-half to each side, below the inscription 'Pro Patria Mortuis' on the frieze above. The east elevation has three pairs of French doors and steps The practice which was renamed George Trew and Dunn in 1959 was first set up in 1908 by William Pite on winning the commission leading down to the Memorial Garden, set between paired pilasters. The cloister is attached to the north elevation of the chapel by a for King's College Hospital, Dulwich. Although primarily known for their pioneering hospital buildings for health authorities in, for part-glazed link. To the west the chapel overlooks a reflective pool that was built in 1973. example, Teesside, Kent and Canterbury and Aberdeen, George Trew and Dunn gained a reputation for their sympathetic approach to historic buildings, notably at the highly sensitive site of the Royal Naval Hospital, Haslar, Gosport where they responded to ‘the INTERIOR: the chapel interior is austere yet powerful, and prolifically endowed with memorials to the Household Cavalry and Guards' challenge of reconciling ancient beauty with modern usage.’(Architect,1973, 60). Then known as George Trew Dunn Beckles Willson regiments. The interior is simply treated with plain white walls of rough plaster. The ceiling of the nave and narthex are of polished Bowes, the practice won the prestigious commission to rebuild Wellington Barracks in 1972, tasked with incorporating the existing Columbian pine, the floor is of black/grey composition tiles. Square ceiling lights emit natural light into the nave while artificial historic buildings into a new barracks, suitable for the needs of a modern army. lighting is concealed within the ceiling and distributes light throughout the space by a series of reflectors and shades projecting from the ceiling.

Pairs of bronze doors lead from the portico to the narthex which is separated from the nave by a monumental full height Portland stone screen of three tiers of flat-arched openings. The list of memorial inscriptions continues into the narthex. The Household Details Brigade Cenotaph stands in the SW corner opposite the entrance to the Memorial Cloister. It takes the form of a moulded stone MATERIALS: the 1962-3 chapel is of reinforced concrete frame construction with brick infill panels, faced externally with ‘Granitex’ sarcophagus with a polished timber lid, set within a recessed chamber, which resembles the simplified, shortened profile of a rendering of white marble chippings and mica bound together with white Portland cement which is lightly hammered to provide a buttressed church spire. Windows within the recess fill the chamber with natural light. rough textured finish. The plinth is of Portland stone, other dressings are of black Welsh slate. Bronze fittings. Tubular steel trusses support the low pitched roof which is covered by insulated copper. The Memorial Cloister is of red brick on a Portland stone plinth, Six Regimental cloisters or chapels line the south side of the nave, one for the two Household Cavalry regiments and one each for the with a Portland stone entrance and other dressings and five copper-clad domes to the roof. The sanctuary is of stock brick, faced Foot Guards, each with its coat of arms carved on a rear wall of Portland stone, and each with a Portland stone altar table. The internally in marble and mosaic. windows are decorated with cut and etched designs on white glass chosen by the regiments. These include the Archangel Gabriel by John Hutton (Grenadiers' chapel) and work by Gordon Beningfield, Lawrence Whistler and Rosemary Barnett. The same etched PLAN: rectangular plan, a modern interpretation of the classical temple, echoing the neo-classical ideology behind the original treatment on white glass is intended for the 52 slit-windows in the north wall, as the need for memorials arises. Coloured glass is chapel; internally incorporating the C19 apse, flanked by vestries; chancel, nave, narthex and west portico. To the north the Memorial restricted to Clayton’s stained glass in the west wall, that was saved from the former chapel. The heavy square-based stone and Cloister projects at right angles and forms a cross axis aligned with the Household Division Cenotaph in the SW corner of the chapel. marble font from Street’s chapel, embellished with intricate stone inlay and carving, stands in the nave. Side chapels line the south wall of the nave. A low screen of white Pentelic marble, that incorporates the C19 iron chancel gate by J Leaver, precedes Street’s highly decorated EXTERIOR: the main entrance to the chapel is from the west via six steps that lead to a tetrastyle portico of three low, broad openings apsidal sanctuary that dominates the east end. The screen is flanked by panels of cast aluminium designed by Geo!rey Clarke ARCA separated and terminated by four higher but narrow openings set into the stark, flush facade that is pierced by a single square (1963) 'Passive Standard' to the north and 'Active Standard' to the south, with the choirs and musicians galleries behind. The pulpit opening containing a Greek cross. The portico is top lit, between a framework of horizontal, narrow concrete slabs. Behind the portico and desk in front of the screen are of white marble: the pulpit was a gi" of the Royal Family and has a Celtic cross incised in the front; is a glazed west window that extends the width of the building, divided by simple mullions and a single transom, and contains stained the desk has the Household Division emblem. Nave pews (seating 500) and choir stalls are of polished afrormosia wood. Underfloor glass by JR Clayton from the earlier chapel depicting scenes from the Old Testament to the north side and New Testament to the heating avoided the need for intrusive heating. south. Below, within the central bay, are three pairs of bronze doors, a gi" from the Sixth South African Armoured Division, to whom the Guards were attached in 1944 when the original chapel was destroyed. The doors are flanked by inscriptions to those whose The chancel, between the screen and Street's sanctuary, and treated as the nave, houses the choir stalls, white marble-fronted monuments were included in the earlier chapel. Six uplighters are fixed at intervals above the doors. Between the portico and west musicians’ and organ galleries; the floor is of white, black and grey marble laid in a geometric pattern. The chancel is lit by circular wall bronze trusses each enclose a cross. pendant lights. The organ and trumpets were installed in 1971; the organ was subsequently enlarged.

The nave is inscribed on the north and south with a continuous narrow fillet of black marble. The north elevation overlooking the Sanctuary: the walls, columns and arcades of Street’s apsidal sanctuary are lined in veined cream and brown marble with cornices

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Guards Chapel, Wellington Barracks, Non Civil Parish - 1066441 | Historic England 25/06/2020, 12)27 Guards Chapel, Wellington Barracks, Non Civil Parish - 1066441 | Historic England 25/06/2020, 12)27 and capitals picked out in gold. The sedilia is of red, black and white marble. Lavish, gilded mosaic decoration, designed by JR The Guards Museum – the Division Today, accessed from http://www.theguardsmuseum.com/The-Division-Today Clayton of Clayton and Bell and executed by Salviati, Burke and Co and completed by 1911, depicts the Story of the Passion, with the Crucifixion immediately behind the altar and Christ in Majesty above, within the vault. Flanking walls depict figures of the Apostles; above the sedilia, angels carry scrolls inscribed with the virtuous qualities - love, peace, goodness, temperance and so on. To the north is The Agony in the Garden of Gethsemane. Floors are of encaustic tiles. Floor mosaics and the altar are of coloured marble, with a frontal panel in blue and gold mosaic, designed by Sir Nevile Wilkinson (1937), who had served in the Coldstream Guards. The Legal sanctuary steps is a memorial to King George V, unveiled 1936. This building is listed under the Planning (Listed Buildings and Conservation Areas) Act 1990 as amended for its special architectural or historic interest. Memorial Cloister: from the west end of the nave four steps descend to the interior of the War Memorial Cloister laid out in five bays, each bay under a vaulted roof of coursed ashlar blocks, supported on moulded stone piers. On each side, apsidal chambers house memorials to each regiment, except for the central three bays overlooking the Memorial Garden which have pairs of full-height fully- glazed small-paned doors. The central aisle has a white and black marble floor that leads to the entrance on Birdcage Walk. Black End of o!icial listing marble floors line the memorial chambers and each is defined by a carved, wall-mounted stone plaque bearing the regiment’s insignia and a low Portland stone plinth supporting a book of remembrance on a gloss-black moulded stone base. © Historic England 2020 SUBSIDIARY FEATURES Reflective pool, to the west of the Memorial Cloister, conceived as part of the George Trew and Dunn scheme, and constructed in 1973.

Legacy

The contents of this record have been generated from a legacy data system. Legacy System number: 208702

Legacy System: LBS

Sources

Books and journals Clark, C, The Guards Chapel, Guidebook , (n.d.) Wilkinson, N , The Guards Chapel, Centenary Edition, (1938) 'Architects' Journal' in Wellington Refurbished , (11 April 1973 ), 852 'The Architect' in Profile of a Paractice: George Trew Dunn Beckles Willson Bowes of Richmond Surrey , , Vol. 3 (No 2) , (Feb 1973), 60-61 'The Builder, vol.175' in Proposed Design for The Royal Military Chapel, Wellington Barracks HS Goodhart Rendel, (12 December 1947), 472-4 'Building' in Mini-profile: George Trew Dunn Beckles Willson Bowes, (10 March 1978), 86 'Interior Design' in The Royal Military Chapel, Wellington Barracks, (January 1974), 60-1 'Architect and Building News' in Guards’ Chapel, London, , Vol. 225, (4 March 1964), 391-4 'The Journal of the London Society' in The Royal Military Chapel, Wellington Barracks The Guards’ Chapel, a talk given to the members on their visit to the Chapel on 16th January 1964 by Bruce George ARIBA, (), 24-28 'Concrete and Constructional Engineering' in Royal Military Chapel, London, , Vol. 59, (January 1964), 42-3 'Building' in Wellington Barracks, (13 April 1973), 91-3 Aldous, T, 'Building' in Back To Barracks , , Vol. 239, (21 Nov 1980), 44-45 Websites Field Marshal Alexander of Tunis , accessed from http://www.oxforddnb.com/view/article/30371?docPos=1

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