RICHARD GRIFFITHS ARCHITECTS

The Charterhouse London E1

Heritage Impact Statement The beautification and refreshment of the Great Chamber: Proposed Works June 2018

Richard Griffiths Architects is the trading name of Richard Griffiths Architects Ltd RICHARD GRIFFITHS ARCHITECTS

Contents

Introduction 3

Historic development of site/buildings 4-5

Heritage significance 6-8

Issues facing the building 9

Summary of brief and proposals 10

Heritage Impact Assessment 11

Policy Context 12

Drawings as Proposed 13-20

Material Palette 21 22 Stakeholder Consultation

Appendices 23 Appendix I : Listing Description 24 Appendix II : List of Attached Drawings

Appendix III : attach CMP

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Introduction

Richard Griffiths Architects have been appointed by the Charterhouse to provide a Heritage statement for the repair and restoration of the Great Chamber. This report is to be read in conjunction with drawings and other documents submitted for this listed building consent application.

The Great Chamber is one of a suite of large rooms on first floor of main building at the centre of Charterhouse estate. This clustered around Master’s Court is set within larger grounds that also include smaller courts and garden. It is a grade I land has long been recognised by Islington as a building of architectural, historical and cultural merit, both locally and nationally.

This report includes:

• Analysis of the development history of the Chamber within the context of the Charterhouse.

• Analysis of the significance of the room in its present form and of its contribution to the history of the building

• Analysis of the impact of the current proposal on the character and appearance of the listed building

• Analysis of planning and heritage policies relating to the project

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Historical Background

The Great Chamber is steeped in history. The room dates from the 1540s, and in 1558 it was referred to as the “Throne Room” after Elizabeth I’s first visit to the mansion, which she made on the very day she heard that she was to ascend to the throne. During this five day visit she is said to have convened the Privy Council in the Great Chamber. Like Elizabeth, James I of England also held Court in the Great Chamber at the time of his accession to the throne when he is thought to have created up to 133 new barons. King James went on to become the first Royal Governor of the charity founded by Thomas Sutton which inhabits the site to this day. BOMB DAMAGE 1941 TO OLD LIBRARY AND GREAT CHAMBER Like much of the Charterhouse, the Great Chamber has been subtly altered over the years. The two dominant features today are the fireplace with its distinctive overmantel and the ornate heraldic ceiling, featuring the coats of arms of the fourth Duke of Norfolk and his family (the mansion was the Duke’s London residence). Both of these suffered greatly in World War II when incendiary bombs caused a firestorm that engulfed swathes of London on the 10th- 11th May 1941. On this night 1,436 Londoners were killed and the damaged buildings included the House of Commons and Westminster Abbey. The buildings were evacuated, and the Great Hall and Great Chamber were protected by a temporary ceiling until a major refurbishment programme, led by architects Seely and Paget, was started in 1950. This work began after the site was scheduled as an Ancient Monument, which greatly helped the Governors to secure the support of the Government for the restoration.

The Charterhouse was formally reopened by HRH The Queen and The Duke of Edinburgh in 1958. Since that time, the Great Chamber has hosted many key events in the life of the Charterhouse but little restorative work has been undertaken, and its appearance no longer reflects the room’s centrality to the charity.

BOMB DAMAGE 1941 EXTERNAL VIEW FROM CHAPEL COURT

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The Historical Development of the Great Chamber

Pre-18th century The chimneypiece predates Sutton’s Hospital, but accounts from 1626 exist cornice, dado, and the ungainly light fittings all survive from Seeley and for its painting and gilding. The geometrical pattern in the centre of the Paget’s reconstruction. The Charterhouse had its origins in the Carthusian monastery that was overmantle bears the royal arms and cipher thought to be those of Charles founded on the site in 1370, at what was then the edge of the City of London. I. Detailed analysis has confirmed that the painting is by Rowland Buckett Following the Dissolution the religious community of Carthusian Brothers executed during the refurbishment works in 1626. The dates of the other was disbanded 1538 and the priory was acquired and converted into a large panels, including the Last Supper, the Annunciation, and a set of portrait stately home by Lord North. The Great Chamber was intended as Lord heads, are not known for certain: the latter may be representations of the North’s grandest Chamber for private dining and granting audiences. It sons of the fourth Duke of Norfolk and therefore made before 1569. dates from the 1540’s and is a variant of the typical long gallery which can be found in grand houses of the late medieval and early modern periods. It The Great Chamber had two fireplaces, of which only one remains, at the was originally a single space: Its length was broken only by two fireplaces of west end. The painted and gilded chimneypiece is considered to be one of which only one remains at the West end. the most important artistic features of the Charterhouse. It suffered fire and water damage in 1941 and was extensively restored by Robin Ashton between The house subsequently passed onto Thomas Howard, 4th Duke of Norfolk, 1955 and 1958. who further embellished the interior of the room. The Great Chamber had been used as the Throne Room when Elizabeth I held court at Charterhouse 18th - 19th century on her accession in 1558, and was the location for the Privy Council meeting VIEW OF THE GREAT CHAMBER THE MID 19TH CENTURY held during her five-day stay. Due to its size and the availability of rooms within the building, the Great Chamber had very intermittent use which led to the suggestion, in 1767, that The decorative design of the ceiling dates from Norfolk’s ownership, it could be turned into an infirmary. The proposal was not adopted and the and there are accounts relating to plasterwork carried out in 1572-3. The room’s decline continued until renovation was carried out in the 1830s. combination of thistles and roses may refer to the Duke of Norfolk’s intended marriage to Mary Queen of Scots, which led to his part in a failed plot against Shortly afterwards Blore added the west window, to compensate for blocking the Queen and his subsequent downfall. light from the alcove window and the room was re-decorated by Crace and Son. His second son Lord Suffolk sold the estate to Thomas Sutton who made it into a hospital and almshouse in 1611. At this stage the Chamber was 20th century subdivided and the ante-room created as part of the hospital works. During the War the whole of the floor and ceiling was destroyed, with the sole exception of the ceiling within the alcove. In the post-war reconstruction It was initially used for Governors’ meetings (an eight piece set of tapestries the wall of the ante-room was moved, making it a little smaller and the Great was bought when the Charterhouse was converted for Sutton’s Hospital) Chamber longer. The ceiling was restored to its original decorative pattern, but it proved too large and by 1639 it was superseded, for at least some though with more restrained gilding than may originally have been used. The meetings, by rooms in the Master’s lodgings. VIEW OF THE GREAT CHAMBER AND FIRE PLACE IN THE EARLY 20TH CENTURY

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Summary of Heritage Significance

Policy statesmen, and was where James I held court in the room following his Artistic Significance ascension to the throne in 1603. The policy context for assessments of heritage significance is set by the ‘The Charterhouse has a fascinating collection of historical portraits of National Planning Policy Framework (2012), and summarised in its Glossary Thomas Sutton’s purchase of the site in 1613 and subsequent refurbishment Governors and former members of staff, which illustrate just how closely as follows: saw the room divided in two - the ‘Great Chamber’ and Antechamber. Its connected this institution was to the centre of power in the late seventeenth main function during this period was a Governor’s Room for meeting and century. These figures include some of the most powerful and influential “Significance (for heritage policy): The value of a heritage asset to this and assemblies. In the 18th century it fell into disuse and was principally known figures of their day, and the paintings themselves come from the workshops future generations because of its heritage interest. That interest may be as the ‘Tapestry Room’ derived from Flemish tapestries that were hung of a range of the most significant portrait painters of the period. The survival archaeological, architectural, artistic or historic. Significance derives not only here. of these images in this very important setting gives both paintings and from a heritage asset’s physical presence but also from its setting.” building particular historical resonance and they should be preserved and After considerable re-modelling following bomb damage in World War II Recent guidance (March 2015) on the topic can be found in Good Practice protected for the future. ‘ it was formally reopened by HRH The Queen and The Duke of Edinburgh Advice in Planning 2: Managing Significance in Decision-Taking in the Historic in 1958. Today, the Great Chamber is well used for concerts, talks and Catharine MacLeod – Curator of Seventeenth Century Portraits, National Environment Historic England 2015. Charterhouse social events and is available for hire. It is also a central venue Portrait Gallery London Further clarification and advice has recently been issued in Planning Practice to visitors on tours of the Charterhouse. The Charterhouse collection includes portraits of the founder Thomas Guidance: Conserving and enhancing the historic environment, which (in para Sutton, the Duke of Wellington, the Earl of Crawford and many other 008) confirms the definition of heritage significance given in the Glossary significant Governors. A collection of seventeenth century paintings featuring to the NPPF, and (in para 013) confirms the definition of “the setting of a Architectural Significance many of the central figures of the Restoration is thought to have been at the heritage asset” given in the Glossary. The current appearance of the room is the result of extensive Charterhouse during the lives of the sitters. These include portraits of the reconstruction works carried out after the bombing of the building in 1943 Duke of Monmouth, the Earl of Craven, the Duke of Buckingham, Gilbert when it resembled a gutted shell. The structural core of the building is little Sheldon - Archbishop of Canterbury. Heritage designations changed since Lord North’s 16th century Hall; however, there have been A pair of bespoke lanterns in the centre of the room designed by Seeley and The Charterhouse was listed Grade I in 1950 and the listing has not been some changes to elements within the room. In the 1840s the architect Paget’s belong to the post-war reconstruction works. modified since. The listing designations are in Appendix 1. The building is also Edward Blore reconfigured the room again as part of the works connected part of the Charterhouse Square Conservation Area (CA09). to his new building at Preacher’s Court, adding new windows in the north Archeological Significance and west wall, and restoring damaged features such as the cornice. The

last set of substantial changes were carried out by Seeley and Paget, This works to this upper storey room will not impact on the underground Historical and Social Significance architects who worked extensively in London on reconstruction in the archaeology. postwar period. They replaced the floor and a large portion of the damaged The room is one of only few surviving Great Chambers in this country and has ceiling, including new designs for the cornice, dado and chandeliers. The Degrees of Significance had a long history and been the setting for a cariety of uses. Constructed as partition with the adjoining antechamber, the new doors and mouldings a principal room in Lord North’s residence, it was subsequently adapted by Various areas and features of the Great Chamber and Anteroom have varying also date from this period. Lord Howard, it served for state ceremonies under Elizabeth I on her return to heritage significance. The plans on page 8 distinguish area of high, medium London in 1558. In the 1588 inventory it is known as the ‘Great Dining room’. and low significance; and are defined detail later in this section. The essential Also known as the ‘gilded’ chamber it continued to be used by courtiers and point is that in areas of high significance any proposed changes would

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have to be justified by a very strong case in which additional public benefit in the 1840s as part of his wider refurbishment of the Charterhouse. To its decorations’. These modern copies of earlier features, show some outweighs the loss of heritage significance. In areas of low significance compensate for the blocked-up alcove window consequent on the building the decorative intention of the room in 19th century and are of medium arguments in favour of change would need little such justification. of Preacher’s Court, Blore built a new window in the west wall modelled on significance. other windows at the Charterhouse. Following the damage in the WWII, it Areas of high significance internally include the main walls and fireplaces, was decided to demolish the antechamber wall and move it to its present Fireplace/Chimney Pier which date from the early tudor period to the mid 19th century. location, and new window was restored in the recess to match the window The splendid decorative centre piece of the Great Chamber is the ornate Areas of medium significance include much of the area of the old Common of the library below. The core of room with the exclusion later furnishings is fireplace with its decorated fireback, black lacquer painted panels and Room. therefore highly significant. gilt work. Carter’s map of 1613 shows the location of two chimneys in the Areas of Low significance include the reconstructed floor and ceiling from Great Chamber, suggesting the fire backs were original to Lord North’s Cornice / Dado the 1950s and the internal partition also added at this time. design for the room. In the early 17th century the painter Rowland Buckett The cornice detail to the Great Chamber is believed to have been added by is recorded as having added decorative gilt work to the fireplaces. From Walls and windows Blore in the 1840s, following extensive damage to the original cornice, half the stylistic differences between the lower and the upper sections, it has of which has disappeared during a period of neglect in the 18th century. been suggested that Buckett may have complete the older, more carefully The length of the Great Chamber has varied considerably over the centuries, The present cornice is a copy in fibrous plaster of the original oak detailing executed over-mantle painting, and at a later date another craftsman at the present it stands at 60ft long, with an adjoining ante-room to the that was largely lost to fire damage in WWII. The first appearance of the had been commissioned to finish the lower part in a similar style. Of the stairs. In the 16th century, when Lord North built the Chamber, the length dado is not recorded in accounts, although it is shown in photographs of two fireplaces only the western survives, the other was lost during the had been greater, and included this antechamber and the adjacent alcoves. the Chamber following Blore’s refurbishment, and it is likely it was one of re-modelling of the ante-chamber. The surviving fireplace was fortunate The west end of the Great Chamber was substantially altered by Blore many elements he added after considering the chamber ‘incomplete in escape the fire bomb damage in World War II and its associations make it

SOUTH WALL OF THE GREAT CHAMBER

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one of the most high significant parts of the room. Floor pre-World War II Chamber shows brass chandeliers with Edison tear drop style light bulbs. During the refurbishment works by Seeley & Paget after The original timber floor to the great chamber was lost to fire damage during Ceiling the war, they designed new lantern light fittings. These are large, clumsy the war and was rebuilt afterwards in concrete with narrow planks of oak, it and ineffective, and detract from the splendid ceiling. At the time of the The decorative ceiling dates from the restoration work carried out by G. therefore has low or neutral significance. refurbishment works, other servicing was added, including pipe runs, cable Jackson & Sons, who rebuilt the majority of the ceiling following bomb and radiators around the perimeter of the room. These later services either damage in World War II. Salvaged mouldings of the old ceiling were then Hangings and Paintings detract from the significance of the room, even in the case of chandeliers, incorporated into the new work. The combination of old and new tracery There are records of tapestry hangings in the Great Chamber in the 16th despite have historic and architectural significance in themselves. were then gilded to accentuate the curvilinear motifs, based on evidence of century, covering a large extent of the available wall space. The current a ‘gilded chamber’ that had existed pre-Sutton’s Hospital in 1612. Extensive examples on display were donated to Edmund Traves in 1615, and were repair work was carried out in the 19th century by John Jay and later by Crace remounted in the mid-19th century during Blore’s refurbishment. In the & Sons under the direction of the architect Edward Blore. The ceiling was inventory of the rooms there is evidence that the portrait of Thomas Sutton repainted and re-gilded at this stage and retained this appearance up to the which once hung in the Great Chamber. These significant hanging are World War II. Paint analysis has revealed that the vegetation and ribs were intended to be conserved and relocated elsewhere, where they can be re- always in a white distemper and only the coats of arms had been polychrome hung without incurring further damaging. in the past. A small section of the original ceiling created in the 16th century by the Duke of Norfolk survives in the alcove at the west end of the room this Lighting and Services is of high significance, whereas the other area of the re-modelled ceiling is of medium significance. There is little evidence what artificial lighting was present either by candle or gas light in the run up to the early 20th century. A photograph of the

WEST WALL OF THE GREAT CHAMBER CHANDELIER AND MAIN CEILING ALCOVE CEILING DETAIL PORTRAIT OF THOMAS SUTTON

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Assessment of Heritage Significance

Low heritage significance

Ceiling

Degrees of Heritage Significance Alcove Low heritage significance

Medium heritage significance

High heritage significance

Great Chamber Antechamber

Common Room

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Issues Facing the Building

Clumsy and insensitive addition of servicing along skirting, detracts from the room and causes circulation problem during events. Output is inadequate to cope with present or future demands.

Limited lighting arrangement, reliant on natural daylight that has caused damage to artworks and furnishings.

Seely and Paget’s later light fitting detract from the central historic feature of the chimneypiece, which was recently cleaned and conserved

Damaged to the timber floors

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The Brief and Proposals

The Brief The Proposals • New picture rail for hanging paintings

The brief for the ‘beautification and refreshment’ of the Great Chamber will The room was extensively damaged during WW2 and was restored by • Tapestries – Clean and conserve be principally concerned with repair and refurbishment of the fabric, for its Seeley and Paget. Nearly all the ceiling is new, as are the curtains, wall • Painting Gallery - Make arrangements for hanging paintings continued and extended use as a multifunctional meeting place, dining room finishes and light fittings. Improvements are proposed as follows: and viewing gallery. The HLF-funded project will reveal the qualities of the • Curtains – remove existing and provide linen roller blinds historic building, and make it open to a wider public.

• Window recesses - remove upper boxings in wide recesses (4no) The Great Chamber is used for multiple purposes and this is expected to continue. The Charterhouse wishes to hang most of its collection of oil • Radiator - replace radiators with new cast iron radiators and oak seats with paintings depicting former Governors and staff in the Great Chamber. turned legs over

• Remove shelf over perimeter heating pipework It is anticipated that the Great Chamber will, in the future, host an annual summer exhibition. The exhibitions will run for six or seven weeks. The • Leaded light windows - reglaze broken quarries subject of the exhibition will change each year and it is expected that the exhibitions will require loans of paintings, objects and manuscripts from • Fire surround - conservator to conserve fireplace surround including other collections. cleaning and fixing loose paintwork

• Fireplace – provide new cast iron heraldic fireback The aims of the project are: • Redecorate ceiling white distemper retaining only painted crests and • To present the Chamber as a public viewing gallery with a new hanging lozenges arrangement of the restored oil paintings from the Charterhouse Collection • Walls – Strip wallpaper and hang walls with green damask wall hanging • To improve the condition of the Great Chamber and adjacent room • Redecorate below dado to match plinth of fireplace • To deliver increased heritage and community engagement • To reveal the history and interest of the building • Redecorate cornice in black with gold leaf enrichments • To make it accessible, welcoming and visible • Lighting - remove hanging lanterns and install new lighting from wall • To allow a wide possible range of uses lanterns • To give it a sustainable future economically, socially and environmentally. • Emergency lighting and signage – replace with more sympathetic design

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Heritage Impact Statement

Extent of work: painting out the green thistle and leaf motifs in white. The ante-room ceiling Picture Hanging: will be painted white. Great Chamber Impact: The pictures will be hung from a new brass picture rail with chains, Justification: The alterations return the ceiling to its likely Tudor appearance fixed below the cornice. The rail will be be fixed to brackets, fixed to the wall. Ante-room according to historic and paint research, with the alcove, where Queen Justification: The rail will be a new element required by the picture hang, but Ante-room lobby to roof of Norfolk Cloister Elizabeth I is likely to have sat in state following her succession as queen, sympathetic to historic period of the paintings. decorated more richly to reflect its higher status.

Use Floorboards: Cornice and Dado: Impact: The Great Chamber will be redecorated, refitted and relit as a Impact: Removal of existing floor of narrow oak boards fitted post-War by picture gallery for the Charterhouse’s collection of fine 17th century portraits. Impact: These will be redecorated with a new grey-green colour reflecting Seeley and Paget. Replace with wide oak boards, traditionally fixed. The current tapestries will be moved. the existing grey green of the plinths to the columns of the Tudor fireplace, with cap moulding in black and a gold leaf band (as shown in drawings). Justification: To improve the appearance of the room sympathetic to its Justification: The Great Chamber will provide an ideal setting for the Tudor origins. The floor is required to be taken up to install new electrical portraits that are currently hanging in various unsuitable places in the Justification: The existing colour scheme of white paint and gilding is post- and heating services. Charterhouse. War and historically inaccurate. The new scheme aims to integrate the splendid Tudor fireplace into a new aesthetic whole, framing the new green Mitigation: The tapestries will be conserved and relocated. wallcoverings. Hearth:

Impact: Existing hearth floor guard projects around 30mm above the level of Cupboards in Ante-room lobby: Wall coverings: the hearth stone and adjacent floor. This will be lowered to make it flush with Impact: These will be removed. adjoining surfaces. Impact: Removal of existing wall paper and finishes from post war decorative Justification: They are intrusive and their removal will be a benefit. scheme and hanging of new silk green moire wall hanging to create a suitable Justification: The hearth guard is a modern feature added in the post war background for showing oil paintings as part of the new exhibition hang. period as part of the remodelling of the room. It currently presents a trip hazard, and its removal will allow safe site access by elderly residents and Justification: To improve the appearance of the room sympathetic to its visitors to the building. Ceiling Decoration: historic origins, where portraiture was often displayed on green fabric Impact: The majority of the plasterwork ceiling was replaced in the post-war backdrops. period under Seeley and Paget, and where partly retained at west end it had been stripped back and plaster mouldings repainted and gilded. The Great Chamber ceiling will be painted out in white except for the heraldic shields. The alcove ceiling will retain the majority of its paint scheme and gilding,

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Window Repairs: Power:

Impact: Replace any damaged lead lights and repair lead cames where Impact: Removal of existing power cables and fittings within the room. New missing. Repaint window reveals in stone colour. Add new UV film to power circuit around perimeter, including sockets concealed below new inset windows. pieces of hinged plank oak floor board.

Justification: The new colour of the window reveals will match the colour Justification: The proposal removes the visible appearance of the present of the existing stone mullions and be historically correct. Repairs will be like power circuits for like and upgrading the glazing will prevent draughts and make the room more comfortable to use and economic to heat. UV film is required to protect painting from degradation under sunlight. Picture Lights:

Impact: New sockets, wiring and picture lights fixed to the cornice serving LED picture lights above each painting, wired-up the chains. Door Adjustment: Justification: New picture lights linked to proposed permanent picture hang, Impact: Door narrowed to make it proportionate to the room. Narrower door wiring coloured to match brass colour of chains and rails. will require resetting moulding and packing out partition wall.

Justification: The door, frame and mouldings are part of the post war scheme, and are ill-proportioned. The narrowing is needed to create more Other lighting: space for portraits hung on either side of door, while still allowing the grand Impact: Removal of Seeley and Paget chandeliers. New architectural lighting piano to be moved through the doorway. from spotlights fixed to the cornice to light the ceiling and architectural elements (eg fireplace and bust of Sutton). A ceiling track will be mounted in the Ante-room to receive spotlights. Heating: Justification: The proposal removes the large bespoke chandeliers by Seeley Impact: Remove modern radiators, pipes and overhanging skirting shelf. and Paget, which are an unsuitable scale for the room, especially next to new Install new low profile cast iron column radiators in front of windows, fed hang of paintings. These chandeliers will be carefully taken down and re- from a new pipe run below new floor. The radiators will be fitted with oak hung above the main staircase. seats over.

Justification: This removes the unsightly appearance of the exposed modern pipes, and replaces them with an appropriately sculptural and traditional form of central heating. New radiators are required by the services engineer to achieve the required heat output.

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Policy Context

National Planning Policy Framework (2012) environment will be conserved and enhanced whether designated or not. further policies in relation to urban design and heritage. Detailed guidance These assets in Islington include individual buildings and monuments, parks on urban design in Islington is provided in the Islington Urban Design Guide The National Planning Policy Framework was introduced in 2012 and included and gardens, conservation areas, views, public spaces and archaeology. (IUDG) Supplementary Planning Document. the following policy for Active management of conservation areas will continue, through a conserving and enhancing the historic environment: programme of proactive initiatives for the conservation-led regeneration of historic areas, and potential designation of new conservation areas. The London Plan, Spatial Development Strategy for Greater London (July 126. ‘Local planning authorities should set out in their Local Plan a positive Archaeological Priority Areas will continue to be defined on the proposals 2011) strategy for the conservation and enjoyment of the historic environment, map to assist in the management of these historic assets. including heritage assets most at risk through neglect, decay or other threats. C. Where areas of Islington suffer from poor layout, opportunities will Heritage and Conservation: In doing so, they should recognise that heritage assets are an irreplaceable be taken to redesign them by reintroducing traditional street patterns resource and conserve them in a manner appropriate to their significance. In and integrating new buildings into surviving fragments of historic fabric. 7.8A London’s heritage assets and historic environment, including listed developing this strategy, local planning authorities should take into account: Reconfiguration based on streets and a perimeter block approach will be a buildings, registered historic parks and gardens and other natural and • the desirability of sustaining and enhancing the significance of key requirement for new developments, in particular housing estate renewal. historic landscapes, conservation areas, World Heritage Sites, registered heritage assets and putting them to viable uses consistent with their battlefields, scheduled monuments, archaeological remains and memorials conservation; D. All development will need to be based on coherent street frontages should be identified, so that the desirability of sustaining and enhancing their • the wider social, cultural, economic and environmental benefits that and new buildings need to fit into the existing context of facades. Housing significance and of utilising their positive role in place shaping can be taken conservation of the historic environment can bring; developments should not isolate their residents from the surrounding area in into account. • the desirability of new development making a positive contribution to ‘gated’ communities. local character and distinctiveness; and E. New buildings and developments need to be based on a human scale 7.8C Development should identify, value, conserve, restore, reuse and • opportunities to draw on the contribution made by the historic and efficiently use the site area, which could mean some high density incorporate heritage assets, where appropriate. environment to the character of a place.’ developments. High densities can be achieved through high quality design without the need for tall buildings. Tall buildings (above 7.8D Development affecting heritage assets and their settings should conserve their significance, by being sympathetic to their form, scale, Islington Council Core Strategy (February 2011) 30m high) are generally inappropriate to Islington’s predominantly medium materials and architectural detail. to low level character, therefore proposals for new tall buildings will not be Policy CS 9 supported. Parts of the Bunhill and Clerkenwell key area may contain some ------sites that could be suitable for tall buildings, this will be explored in more Protecting and enhancing Islington’s built and historic environment detail as part of the Bunhill and Clerkenwell Area Action Plan.

High quality architecture and urban design are key to enhancing and F. New homes need to provide dual-aspect units with clear distinction Response: The proposals follow the policiy in maintaining and enhancing protecting Islington’s built environment, making it safer and more inclusive. between a public side and a quieter private side with bedrooms. Islington’s historic environment through conservation-led regeneration initiatives A. The borough’s unique character will be protected by preserving the G. High quality contemporary design can respond to this challenge as well as historic urban fabric and promoting a perimeter block approach, and other traditional architecture. Innovative design is welcomed, but pastiche will not traditional street patterns in new developments, such as mews. The aim be acceptable. The council will establish new advisory mechanisms to ensure is for new buildings to be sympathetic in scale and appearance and to be the highest standards of architecture and environmental design. complementary to the local identity. H. The Development Management Policies and other documents will provide B. The historic significance of Islington’s unique heritage assets and historic

The Charterhouse Great Chamber, London | Heritage Impact Statement | June 2018 14 RICHARD GRIFFITHS ARCHITECTS Charterhouse, Great Chamber: South Elevation / as proposed

The Charterhouse Great Chamber, London | Heritage Impact Statement | June 2018 15 RICHARD GRIFFITHS ARCHITECTS Charterhouse, Great Chamber: Dining Layout / as proposed

The Charterhouse Great Chamber, London | Heritage Impact Statement | June 2018 16 RICHARD GRIFFITHS ARCHITECTS Charterhouse, Great Chamber: Daily Layout / as proposed

The Charterhouse Great Chamber, London | Heritage Impact Statement | June 2018 17 RICHARD GRIFFITHS ARCHITECTS Charterhouse, Great Chamber: South Elevation / as proposed

INTERNAL SOUTH ELEVATION

The Charterhouse Great Chamber, London | Heritage Impact Statement | June 2018 18 RICHARD GRIFFITHS ARCHITECTS Charterhouse, Great Chamber: North Elevation / as proposed

INTERNAL NORTH ELEVATION

The Charterhouse Great Chamber, London | Heritage Impact Statement | June 2018 19 RICHARD GRIFFITHS ARCHITECTS Charterhouse, Great Chamber: East & West Elevation / as proposed

INTERNAL EAST ELEVATION INTERNAL WEST ELEVATION

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INTERNAL WEST ELEVATION INTERNAL NORTH ELEVATION

INTERNAL SOUTH ELEVATION INTERNAL EAST ELEVATION

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CEILING PLAN

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Proposed construction and material palette for all new elements

Portrait lighting

The portrait lighting in the Great Chamber must be flexible to allow for removal or adjustment of portraits during summer exhibitions. There are a RESTORED SECTION OF HISTORIC CEILING NEW PICTURE HANGING SYSTEM NEW GREEN SILK MOIRE FABRIC number of lighting solutions which can be applied to light the portraits.

The installation of an electric picture rail around the room would allow the 1 flexibility for repositioning both the pictures and any picture lights.

The rail both supports the pictures and provides hidden power which can be used to power either traditional picture lights or spot lights which can either shine across the room or light the picture below.

REPAINTED CORNICE AND DADO SAMPLE NEW OAK FLOORING LIGHT FITTING

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Power rail to be positioned on all four walls, excluding fireplace and end window position

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Specialist and Stakeholder Consultation

Internal Stakeholder Consultation Specialist Consultation

To date, internal consultation has included extensive brief development We propose a seminar to discuss the picture hanging arrangements and sessions with the Charterhouse Governors, Trustees, management and wallhangings attended by members of the steering group, together with staff. These sessions have included observation sessions of the activity Annabel Westman, Giles Waterfield both former directors of the and heritage activities as well as focus groups of specific issues. A number Attingham Summer School for the Study of the Country House. Giles of focus workshops were carried out with the full project team staff and Waterfield, former director of the Dulwich Picture Gallery, was an expert trustees between 2016-2018. on historic picture galleries, and Annabel Westman is an expert on historic fabrics. Formal presentations were made to the Committee and Board of Trustees, feedback from these contributed significantly to finalising the development Specialist Reports have been prepared. Sutton Vane prepared an overview of brief. of light options for the exhibition display. Tracey Chapman has undertaken a thorough analysis of the historic paint layers found throughout the room. Tim Knox Georgina Naylor Statutory Consultation Andrew Saint Professor Maurice Howard RGA and the Charterhouse management team have kept the conservation department at Islington Council updated with their proposals, and have Flora Lyon received valuable feedback which has been reflected in the amended designs Sir Michael Graydon enclosed in this document. In particular the development of a lighting strategy will now use surface mounted fixing on the perimeter picture rail and Wilf Weeks will not be inserted anywhere in the ceiling. Hazel Forsyth Feedback has been supportive of proposals shared thus far and we will Ann Kenrick continue engage closely moving forwards. Stephen Porter Dominic Tickell

Lady Heseltine

Ibby Lanfear

Anna Keay

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Appendix I - Statutory Listing

Name: THE CHARTERHOUSE architects, and ended in 1959; it also involved the removal of work by Blore to bring the buildings nearer to their original condition. List entry Number: 1298101 The building above the frater was reconstructed in the late C16 to form the Grade: I Great Chamber with a decorative plaster ceiling of interlacing ribs, the panels decorated with the arms and motto of the Howard family; chimneypiece with Date first listed: 29-Dec-1950 painted decoration of late C16 with additional painting of 1626 by Rowland Buckett: the fireplace flanked by pairs of Tuscan engaged columns, the Date of most recent amendment: Not applicable to this List entry. superstructure with projecting outer bays carrying a pair of Ionic columns each and entablature, the inner spaces and Ionic columns painted with the The Charterhouse buildings reflect five principal building periods. The first arms of Charles I to the central oval panel and of Thomas Sutton in the panel is the building of the Carthusian Priory of the Salutation of the Virgin Mary, below founded by Sir Walter Manny in 1371; the early buildings of the Priory are attributed to Henry Yevele. The second is the transformation of the monastic buildings into a Tudor mansion, following the suppression of the Priory in 1537; this happened in two stages, first and principally under the hand of Sir Edward North, from 1545, and secondly under that of Thomas Howard, fourth Duke of Norfolk, from 1565. The third is the adaptation of the mansion to the purposes of the Hospital of King James in Charterhouse, generally known as Sutton’s Hospital, founded in 1611 by Thomas Sutton, partly as a free school for forty boys and partly as almshouses for eighty male pensioners; these works were carried out in 1613-14 and were to the design of Francis Carter; the almshouses continue to this day. The fourth stage consists of alterations to the existing buildings and the addition of Preachers’ Court and Pensioners’ Court by Edward Blore in 1826-40; Preachers’ Court was largely demolished after World War II; Pensioners’ Court is separately listed. The fifth stage was the reconstruction of the buildings following bomb damage of 1941 when all four sides of Master’s Court were burned out, the great staircase was destroyed and the Great Hall and Great Chamber were badly damaged. The reconstruction was carried out by Seely and Paget,

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Appendix II - List of Drawings

SU10 Location Plan A1 1:1250

SU12 1st Floor Plan A1 1:25

SU30 Great Chamber Elevation A&B A1 1:25

SU31 Great Chamber Elevation C&D A1 1:25

SU32 Ante Chamber Elevations A1 1:25

D12 1st Floor Plan A1 1:25

D30 Great Chamber Elevation A&B A1 1:25

D31 Great Chamber Elevation C&D A1 1:25

D32 Ante Chamber Elevations A1 1:25

D51 Plan – Mechanical Layouts A3 1:100

D61 Plan – Small Power A3 1:100

D62 Plan - Lighting A3 1:100

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