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Listedbuilding 3 PART 1 BARCOMBE AVENUE SW2 (North Side) Church of St Margaret LBSUID LOCAL AUTH’TY REF. SERIAL NUMBER OF LIST ENTRY 431737 5023 TQ 3072 30/371 GROUP VALUE GRADE DATE DESIGNATED NOTES II 27/03/1981 PART 2 DESCRIPTION Tall church of red brick with stone dressings. Nave has octagonal west turrets with spirelets, low pent aisles, north end south gabled porches. Low, canted baptistery projection at west. Tall, gabled transepts; chancel with short gabled Lady Chapel to south and organ chamber to north. High-pitched tiled roofs with bell-turret at crossing. Austere interior has 5-bay nave with piers of new red sandstone. Timber roof with ogee curved braces. Ornate pulpit with sounding board. Marble lined sanctuary with mosaic floor. Wood reredos dated 1909, possibly Flemish, with panels of crucifixion, Christ in Majesty, saints and bishops. Listing NGR: TQ3079072730 PART 1 BAYLIS ROAD, SE11 K2 Telephone Kiosk, outside Station Gates LBSUID LOCAL AUTH’TY REF. SERIAL NUMBER OF LIST ENTRY 431928 5023 TQ 3179 3/1111 GROUP VALUE GRADE DATE DESIGNATED NOTES II GV 05/06/1987 PART 2 DESCRIPTION Telephone kiosk. 1927. Designed by Giles Gilbert Scott. Cast iron. Square kiosk of K2 type with domed roof; perforated crowns to top panels and glazing bars to windows and door. Listing NGR: TQ3123579810 PART 1 BEDFORD ROAD SW4 (East Side) Nos 53 to 63 (odd) LBSUID LOCAL AUTH’TY REF. SERIAL NUMBER OF LIST ENTRY 431739 5023 TQ 3075 17/33 GROUP VALUE GRADE DATE DESIGNATED NOTES II GV 27/03/1981 PART 2 DESCRIPTION Circa 1870, in stock brick with creamy terra-cotta dressings, built by Jennings as part of a larger scheme of houses of varying size and quality, to the designs of T Collcutt. These are the most substantial houses after 'Rathcoole' in Ferndale Road. Mixture of classical - Italian and Gothic motifs. Each house 4 storeys and basement, 2 windows. Crisply and well detailed terra-cotta work: moulded eaves cornice with deep brackets; pilasters with guilloche moulded panels to third floor segment- headed windows; rusticated architraves to round-arched second-floor windows. Canted bays through lower floors have leafy patterns on lintels and floral capitals to pilasters. There are vermiculate rusticated quoins and quasi-Corinthian prostyle porches with fluted and garlanded columns, up 4 steps. Doors of 3 long and one wide panel, with rectangular fanlight. Listing NGR: TQ3006875424 PART 1 BELMONT CLOSE SW4 (West Side) Nos 26 and 27 (Oddfellows Hall) formerly listed as No 120B Stonhouse Street) LBSUID LOCAL AUTH’TY REF. SERIAL NUMBER OF LIST ENTRY 203996 5023 TQ 2975 16/938 GROUP VALUE GRADE DATE DESIGNATED NOTES II GV 30/05/1979 PART 2 DESCRIPTION Former chapel. Two-storey, 3-bay building in stock brick with stucco cornices at eaves and to pediment with segmental panel in tympanum. First floor sill band. Round-headed windows with margin lights in moulded architraves. Central prostyle ground floor porch, with pediment dated 1852, later enclosed. Listing NGR: TQ2948675619 PART 1 BELMONT CLOSE SW4 (West Side) Nos 28 and 29 (formerly listed as Nos 120 and 118 Stonhouse Street) LBSUID LOCAL AUTH’TY REF. SERIAL NUMBER OF LIST ENTRY 203995 5023 TQ 2975 16/937 GROUP VALUE GRADE DATE DESIGNATED NOTES II GV 30/05/1979 PART 2 DESCRIPTION Mid C19 manse adjoining former chapel. Two storeys, 3 windows in all. Stock brick with stucco pilasters, frieze, cornice and blocking course raised in centre to form small pediment inscribed: EBENEZER COTTAGE. Round-headed windows in moulded architraves: No 29 sashes with margin lights; No 28 modern; ornamental cast iron guards. Altered door set back behind entablature surround. Listing NGR: TQ2949075638 PART 1 River terrace of Queen Elizabeth Hall, Belvedere Road, London, SE1 8XX Zemran sculpture LBSUID LOCAL AUTH’TY REF. SERIAL NUMBER OF LIST ENTRY 5023 1431364 GROUP VALUE GRADE DATE DESIGNATED NOTES This list entry does not comprise part of an Asset Grouping. Asset Groupings are II 19 January 2016 not part of the official record but are added later for information. PART 2 DESCRIPTION Summary of Building 'Zemran', a stainless steel sculpture of 1971 by William Pye, installed in 1972 on the raised terrace outside the Queen Elizabeth Hall on the South Bank, London. Reasons for Designation The stainless steel sculpture 'Zemran', of 1971 by William Pye, installed in 1972 on the raised terrace outside the Queen Elizabeth Hall on the South Bank, is listed at Grade II for the following principal reasons: * Artistic interest: in its strongly geometrical forms and celebration of industrial process, the work has an architectonic character and affinities with High Tech architecture and the glossy, rounded forms of 1970s Pop Architecture; * Historic interest: an early instance of public art at the South Bank, the cultural heart of the capital; * Sculptor: a pivotal work in the oeuvre of this acclaimed C20 sculptor; * Group value: with nearby listed buildings in the South Bank Conservation Area. History The period after 1945 saw a shift from commemorative sculpture and architectural enrichment to the idea of public sculpture as a primarily aesthetic contribution to the public realm. Sculpture was commissioned for new housing, schools, universities and civic set pieces, with the counties of Hertfordshire, London and Leicestershire and the new towns leading the way in public patronage. Thus public sculpture could be an emblem of civic renewal and social progress. By the late C20 however, patronage was more diverse and included corporate commissions and Arts Council-funded community art. The ideology of enhancing the public realm through art continued, but with divergent means and motivation. Visual languages ranged from the abstraction of Victor Pasmore and Phillip King to the figurative approach of Elisabeth Frink and Peter Laszlo Peri, via those such as Lynn Chadwick and Barbara Hepworth who bridged the abstract/representational divide. The post -war decades are characterised by the exploitation of new – often industrial – materials and techniques including new welding and casting techniques, plastics and concrete, while kinetic sculpture and ‘ready mades’ (using found objects) demonstrate an interest in composite forms. William Pye (b1938) started sculpting at the age of twelve, going on to study at the Wimbledon School of Art and the Royal College of Art in London and to teach at the Central School of Art and Design and Goldsmiths College in London. The 1960s saw a turn from figuratio n to abstraction in Pye’s work, marked by a notable series of highly geometric forms in tubular stainless steel such as 'Narcissus' (1969) and 'Quillion' (1970). These arose from Pye’s fascination with reflections on water surfaces. From the 1980s water became an explicit and integral part of a series of water sculptures and fountains, including a Water Wall for the British pavilion at the 1992 Seville Expo. Water features by Pye are sited in the grounds of Wilton House, Wiltshire (Grade I on the Register of Parks and Gardens) and Holland Park, London (Grade II on the Register of Parks and Gardens). Zemran arose when Pye was working at the British Oxygen Company Cryogenic Plant in Edmonton, north London. He became fascinated with the manufacture of pressure vessels for liquid oxygen and acquired some hemispherical and dome-like components, augmented by stainless steel tubing from Sweden. The components were cut and welded in Pye’s Clapham studio, positioned with mobile cranes and tracking hoists. Exterior we lds were removed and the forms polished to obtain a satin finish. The creation of the sculpture is documented in Pye’s 1971 film ‘From Scrap to Sculpture’, and its £3,000 cost was underwritten by the merchant banker Charles Gordon. Zemran attracted considerable media attention when it was exhibited at the ‘British Sculptors ‘72’ exhibition at the Royal Academy of Arts, and marked a turning point in Pye’s career. The Observer described it as a 'mammoth, space-science fiction monster', while other critics made comparisons with the painter Fernand Léger’s ‘mechanical period’. Gordon and his wife, the former ballerina Nadia Nerina, felt that a permanent outdoor site should be found for the work and wrote to the Greater London Council, saying that 'the work is an important one by one of our important sculptors and I have in mind to donate it to the GLC, subject to it being placed in an appropriate site […] I believe that a site on the South Bank would be appropriate'. It was unveiled on 3 May 1972 by Sir Norman Reid, with Nerina and a BBC camera crew in attendance. Details 'Zemran', stainless steel sculpture of 1971 by William Pye, installed in 1972 on the raised terrace outside the Queen Elizabeth Hall on the South Bank, London. The sculpture is 5.5m high and is a composition of five semi-abstract forms in polished stainless steel. A pair of inclined, undulating tubes were intended by the sculptor to 'mimic the rippling reflections made on water when its surface is broken by a cylindrical rod’', while three domed volumes '‘give the impression of being huge glistening water droplets' (Cavanagh 2007, pg. 71). The removal of the weld marks on the tubular columns gives the impression of seamless organic forms, although some junctions are visible. A metal plaque set into the pavement in front of the sculpture reads: "ZEMRAN" / BY WILLIAM PYE (b.1938) / PRESENTED TO THE GREATER LONDON COUNCIL / 3 MAY 1972 / BY NADIA NERINA. Selected Sources Books and journals Cavanagh , Terry (Author), Public Sculpture of South London, (2007), pp.71-73 Websites Pippa Jane, ‘William Pye Water Sculptor', accessed 5 November 2015 from http://www.pippajanepr.co.uk/william-pye-water-sculptor-2 National Grid Reference: TQ3078580311 PART 1 BELVEDERE ROAD (East, off) Fountain in Courtyard Of Shell Centre LBSUID LOCAL AUTH’TY REF.
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