London Events – Autumn & Winter 2017-18
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Building Howick Hall, Northumberland, 1779–87’, the Georgian Group Journal, Vol
Richard Pears, ‘Building Howick Hall, Northumberland, 1779–87’, The Georgian Group Journal, Vol. XXIV, 2016, pp. 117–134 TEXT © THE AUTHORS 2016 BUILDING HOWICK HALL, NOrthUMBERLAND, 1779–87 RICHARD PEARS Howick Hall was designed by the architect William owick Hall, Northumberland, is a substantial Newton of Newcastle upon Tyne (1730–98) for Sir Hmansion of the 1780s, the former home of Henry Grey, Bt., to replace a medieval tower-house. the Charles, second Earl Grey (1764–1845), Prime Newton made several designs for the new house, Minister at the time of the 1832 Reform Act. (Fig. 1) drawing upon recent work in north-east England The house replaced a medieval tower and was by James Paine, before arriving at the final design designed by the Newcastle architect William Newton in collaboration with his client. The new house (1730–98) for the Earl’s bachelor uncle Sir Henry incorporated plasterwork by Joseph Rose & Co. The Grey (1733–1808), who took a keen interest in his earlier designs for the new house are published here nephew’s education and emergence as a politician. for the first time, whilst the detailed accounts kept by It was built 1781 to 1788, remodelled on the north Newton reveal the logistical, artisanal and domestic side to make a new entrance in 1809, but the interior requirements of country house construction in the last was devastated in a fire in 1926. Sir Herbert Baker quarter of the eighteenth century. radically remodelled the surviving structure from Fig. 1. Howick Hall, Northumberland, by William Newton, 1781–89. South front and pavilions. -
Commerce and Exchange Buildings Listing Selection Guide Summary
Commerce and Exchange Buildings Listing Selection Guide Summary Historic England’s twenty listing selection guides help to define which historic buildings are likely to meet the relevant tests for national designation and be included on the National Heritage List for England. Listing has been in place since 1947 and operates under the Planning (Listed Buildings and Conservation Areas) Act 1990. If a building is felt to meet the necessary standards, it is added to the List. This decision is taken by the Government’s Department for Digital, Culture, Media and Sport (DCMS). These selection guides were originally produced by English Heritage in 2011: slightly revised versions are now being published by its successor body, Historic England. The DCMS‘ Principles of Selection for Listing Buildings set out the over-arching criteria of special architectural or historic interest required for listing and the guides provide more detail of relevant considerations for determining such interest for particular building types. See https:// www.gov.uk/government/publications/principles-of-selection-for-listing-buildings. Each guide falls into two halves. The first defines the types of structures included in it, before going on to give a brisk overview of their characteristics and how these developed through time, with notice of the main architects and representative examples of buildings. The second half of the guide sets out the particular tests in terms of its architectural or historic interest a building has to meet if it is to be listed. A select bibliography gives suggestions for further reading. This guide treats commercial buildings. These range from small local shops to huge department stores, from corner pubs to Victorian ‘gin palaces’, from simple sets of chambers to huge speculative office blocks. -
March Newsletter
The Train at Pla,orm 1 The Friends of Honiton Staon Newsle9er 12 - March 2021 Welcome to the March newsle0er. As well as all the latest rail news, this month we have more contribuons from our members and supporters, as well as the usual update on engineering work taking place along our line over the next couple of months. We also take the opportunity to remember the 50th anniversary this year of the demolion of William Tite’s original staon building at Honiton. Hopefully, as the front image shows, Spring is on its way. Remember that you can read the newsle0er online or download a copy from our website. (Photograph by Vernon Whitlock) SWR Research Shows Likely Future Changes to Rail Travel Research commissioned by South Western Railway suggests that rail travel will look very different in a post-pandemic world. SWR has invesgated the possible impact of the pandemic on train travel and the main concerns passengers have about returning to the railways. They spoke to over 6,000 people across the region between April and October 2020. Their research has explored passenger’s atudes to SWR and to travel in general. These studies highlighted three key safety concerns held by passengers, that train companies need to connue to address. These are: other passengers’ adherence to safety measures, crowded trains, and the cleanliness of trains. The key finding of this research is that five key changes in behaviour are likely to have a long term impact on SWR. These are: • A move to remote meengs, held online through plaPorms such as Zoom and Microso Teams; • A move away from public transport back to the car; • More people choosing to work from home in the future; • A fla0ening of the rush hour peak, with a longer, but less intense peak period; • More people intending to take holidays in the UK in the future. -
Willersley: an Adam Castle in Derbyshire’, the Georgian Group Journal, Vol
Max Craven, ‘Willersley: an Adam castle in Derbyshire’, The Georgian Group Journal, Vol. XXII, 2014, pp. 109–122 TEXT © THE AUTHORS 2014 WILLERSLEY: AN ADAM CASTLE IN DERBYSHIRE MAXWELL CRAVEN ichard Arkwright, the cotton pioneer, first came Another aspect was architectural. At first, Rto Derbyshire in , when he set up a cotton Arkwright had been obliged to reside in Wirksworth, spinning mill at Cromford, on a somewhat restricted four miles away and, apart from the leased land on site, over which his operations expanded for a which his mills stood, he did not at first own any decade. His investment repaid the risk handsomely, land at Cromford, although he later built up a and from the s he began to relish his success and landholding piecemeal over the ensuing years. started to adapt to his upwardly mobile situation. Indeed, the manor and much of the land had One aspect of this was dynastic, which saw his only originally been owned by a lead merchant, Adam daughter Susannah marry Charles Hurt of Soresby, from whose childless son it had come to his Wirksworth Hall, a member of an old gentry family two sons-in-law, of whom one was William Milnes of and a partner, with his elder brother Francis, in a Aldercar Hall. He, in turn, bought out the other son- major ironworks nearby at Alderwasley. in-law, a parson, in . It would seem that by Fig. : William Day ( ‒ ) ‘ A View of the mills at Cromford’ , (Derby Museums Trust ) THE GEORGIAN GROUP JOURNAL VOLUME XXII WILLERSLEY : AN ADAM CASTLE IN DERBYSHIRE Milnes had been living in a house on The Rock, a bluff overlooking the Derwent at Cromford, which had previously been the Soresbys’. -
'James and Decimus Burton's Regency New Town, 1827–37'
Elizabeth Nathaniels, ‘James and Decimus Burton’s Regency New Town, 1827–37’, The Georgian Group Journal, Vol. XX, 2012, pp. 151–170 TEXT © THE AUTHORS 2012 JAMES AND DECIMUS BURTON’S REGENCY NEW TOWN, ‒ ELIZABETH NATHANIELS During the th anniversary year of the birth of The land, which was part of the -acre Gensing James Burton ( – ) we can re-assess his work, Farm, was put up for sale by the trustees of the late not only as the leading master builder of late Georgian Charles Eversfield following the passing of a private and Regency London but also as the creator of an Act of Parliament which allowed them to grant entire new resort town on the Sussex coast, west of building leases. It included a favourite tourist site – Hastings. The focus of this article will be on Burton’s a valley with stream cutting through the cliff called role as planner of the remarkable townscape and Old Woman’s Tap. (Fig. ) At the bottom stood a landscape of St Leonards-on-Sea. How and why did large flat stone, locally named The Conqueror’s he build it and what role did his son, the acclaimed Table, said to have been where King William I had architect Decimus Burton, play in its creation? dined on the way to the Battle of Hastings. This valley was soon to become the central feature of the ames Burton, the great builder and developer of new town. The Conqueror’s table, however, was to Jlate Georgian London, is best known for his work be unceremoniously removed and replaced by James in the Bedford and Foundling estates, and for the Burton’s grand central St Leonards Hotel. -
Andor Gomme, 'Chevening: the Big Issues', the Georgian Group Journal, Vol. Xiv, 2004, Pp. 167–186
Andor Gomme, ‘Chevening: the big issues’, The Georgian Group Journal, Vol. XIV, 2004, pp. 167–186 TEXT © THE AUTHORS 2004 CHEVENING: THE BIG ISSUES ANDOR GOMME hevening House, Kent, is one of the most are Campbell’s engraving in volume II of Vitruvius C remarkable and important buildings in the Britannicus , published in (Fig. ), and an estate history of English domestic architecture. At one go it map of which includes a perspective and established an entirely new, classically balanced basement and ground-floor plans of the house formula for elevational design which, initially slow to (Fig. ). There are significant differences of detail catch on, came to define the pattern of house-building between these two, which are best revealed by for years from the mid-seventeenth century, superimposing information from the estate map on across an exceptional range of social position and to Campbell’s elevation (Fig. ), though with one corresponding scale of needs or desires. Perhaps important caution: close examination of the even more important, but intimately bound up with perspective shows, rather surprisingly, that it must be the façade design, is its plan – radically new to from the south-east and therefore shows not the England, but structurally as well as socially rational entrance but the garden front of the house. This is in that the transverse load-bearing walls, which proved by the differing shapes of the perrons on the economically house all the stacks, contain and define two fronts (as shown in plan) and by the presence in a state centre: a box of all the principal entertainment the perspective of a mysterious, and unexplained, rooms which leaves the side ranges free for variable cuboid of brickwork standing against the side of the layouts of family and subsidiary apartments. -
Royal Gold Medall
1912 - Basil Champneys 1977 - Sir Denys Lasdun Royal Gold Medall 1913 - Sir Reginald Blomfield 1978 - Jørn Utzon 1914 - Jean Louis Pascal 1979 - Charles and Ray Eames 1848 - Charles Robert Cockerell 1915 - Frank Darling, Canada 1980 - James Stirling 1849 - Luigi Canina 1916 - Sir Robert Rowand Anderson 1981 - Sir Philip Dowson 1850 - Sir Charles Barry 1917 - Henri Paul Nenot 1982 - Berthold Lubetkin 1851 - Thomas Leverton Donaldson 1918 - Ernest Newton 1983 - Sir Norman Foster 1852 - Leo von Klenze 1919 - Leonard Stokes 1984 - Charles Correa 1853 - Sir Robert Smirke 1920 - Charles Louis Girault 1985 - Sir Richard Rogers 1854 - Philip Hardwick 1921 - Sir Edwin Landseer Lutyens 1986 - Arata Isozaki 1855 - Jacques Ignace Hittorff 1922 - Thomas Hastings 1987 - Ralph Erskine 1856 - Sir William Tite 1923 - Sir John James Burnet 1988 - Richard Meier 1857 - Owen Jones 1924 - No award 1989 - Renzo Piano 1858 - Friedrich August Stüler 1925 - Sir Giles Gilbert Scott 1990 - Aldo van Eyck 1859 - Sir George Gilbert Scott 1926 - Prof. Ragnar Ostberg 1991 - Colin Stansfield Smith 1860 - Sydney Smirke 1927 - Sir Herbert Baker 1992 - Peter Rice 1861 - JB Lesueur 1928 - Sir Guy Dawber 1993 - Giancarlo de Carlo 1862 - Rev Robert Willis 1929 - Victor Alexandre Frederic 1994 - Michael and Patricia Hopkins 1863 - Anthony Salvin Laloux 1995 - Colin Rowe 1864 - Eugene Viollet-le-Duc 1930 - Percy Scott Worthington 1996 - Harry Seidler 1865 - Sir James Pennethorne 1931 - Sir Edwin Cooper 1997 - Tadao Ando 1866 - Sir Matthew Digby Wyatt 1932 - Dr. Hendrik Petrus Berlage 1998 - Oscar Niemeyer 1867 - Charles Texier 1933 - Sir Charles Reed Peers 1999 - Barcelona 1868 - Sir Austen Henry Layard 1934 - Henry Vaughan Lanchester 2000 - Frank Gehry 1869 - Karl Richard Lepsius 1935 - Willem Marinus Dudok 2001 - Jean Nouvel 1870 - Benjamin Ferrey 1936 - Charles Henry Holden 2002 - Archigram 1871 - James Fergusson 1937 - Sir Raymond Unwin 2003 - Rafael Moneo 1872 - Baron von Schmidt 1938 - Prof. -
THE CONTINUOUS PRESENT the Georgian Group and Traditional Craftsmanship, 1937–2017
22 THE CONTINUOUS PRESENT The Georgian Group and Traditional Craftsmanship, 1937–2017 DAVID MCKINSTRY, SECRETARY Our architecture and our language are the arts of England. But the art is impractical without its craftsmen. It is this that gives to architecture its corporate body. The art is not personified in a single figure. The minor arts are all flourishing, and all fall together. The leaves wither, and the long winter comes. We may conclude that it is unlikely it will flower again our lifetime. sacheverell sitwell British Architects and Craftsmen, 1600–1830, London, 1945 hen Sitwell wrote his low-spirited view of the future of historic buildings and con- Wtemporary craftsmanship, much of Britain had been devastated by bombing and war in Europe was ongoing. The Georgian Group, founded in 1937, hibernated throughout the war, and although individual members remained very active, the survival of the Group in a post-war landscape was doubtful, where the ‘rebuilding’ of Britain often led to the demoli- tion of historic fabric. Yet the Group not only survived; by 1947 it had been instrumental in achieving the statutory listing of historic buildings, and indeed that any building dating from before 1850 should be treated as listed until the statutory lists had been completed. In addition to this, the Group campaigned for the preservation and repair of vast swathes of bomb-damaged fabric in the face of a severe shortage of materials, and, often very success- fully, campaigned against the demolition of country houses. Such successes demonstrate the determination of both the Group and the public to save and protect the physical links with the national heritage in a period when one may have thought it impossible. -
THE START of the NECROPLOLIS Iain Wakeford 2015
ast January, in these articles, I started to look at the history of Woking in a way that most local history newspaper columns don’t (or cannot) now do. I wanted to get away from the normal superficial ‘peep’ into history and look a bit deeper at some L of the facts. For over thirty years I have been writing books and booklets about the history and heritage of Woking, so rather than just cobble together readers’ reminiscences’, I wanted to give my column some structure – to tell a more complete history of Woking (if a subject such as history can ever be complete). Starting with the geology and geography, I moved slowly onto the prehistoric before tackling the history of the area from the ‘Dark Ages’ onwards in an almost chronological order. Arthur Locke followed a similar approach many years ago, with readers cutting out and keeping his series of articles on ‘Woking Past’. At the end of last year we reached the 1840’s and 50’s and as well as looking at local chapels and schools, I touched upon the London Necropolis Company and Brookwood Cemetery (now owned by Woking Council). Over the next few months (if not years) I intend to tackle the subject of Woking ‘Past and Present’ in even more detail, beginning this week with a more detailed look at the Necropolis and why it came to Woking. THE START OF THE NECROPLOLIS Iain Wakeford 2015 The original plan for a cemetery on the whole of Woking n the first half of the 19th century the Common used Woking Station with private halts and But these new cemeteries themselves only had population of London had increased from chapels along the main line. -
Royal Crescent Brighton (C.1796–1805) – an Early Seaside Crescent’, the Georgian Group Journal, Vol
Sue Berry, ‘Royal Crescent Brighton (c.1796–1805) – an early seaside crescent’, The Georgian Group Journal, Vol. XXV, 2017, pp. 237–246 TEXT © THE AUTHORS 2017 ROYAL CRESCENT BRIGHTON (c.1796–1805) – an eaRLY SEASIDE CRESCENT SUE BERRY Brighton’s Georgian legacy includes some distinctive visual contribution to Brighton’s townscape, and and elegant projects, one of the most impressive of newly-discovered evidence from Court cases provides which is Royal Crescent. Built between c.1796 and valuable information about building costs, rare in 1805, this speculative project of fourteen terraced Brighton, and insights into a developer’s desire to houses faces the sea on Brighton’s eastern cliffs. Its control quality, in this case the provision of superior façade of black mathematical tiles makes a striking water closets. The Royal Pavilion facing east overlooking the Steine Byam House Belle Vue House Royal Crescent Fig. 1. Marchant’s map of Brighton in 1808 showing the location of Royal Crescent. (Private Collection) THE GEORGIAN GROUP JOURNAL VOLUME XXV ROYAL CRESCENT BRIGHTON ( c . 1 7 9 6 – 1 8 0 5 ) – AN EARLY SEASIDE CRESCENT Fig. 2. Royal Crescent today from the east. (Author) etween the late 1770s and the mid-1820s there soldiers. The government decided to garrison the Bwas a building boom in Brighton, during which town because the shallow water and gently shelving Royal Crescent, still a landmark on the eastern foreshore, characteristic of Brighton and the bay cliffs, was built (Fig. 1). The demand for houses to the west of the town, were not only convenient and services that drove the resort’s expansion for bathing machines, but could also enable troops out of its old boundaries onto the surrounding to embark and disembark easily. -
'Leoni's Drawings for 21 Arlington Street'
Richard Hewling, ‘Leoni’s Drawings for 21 Arlington Street’, The Georgian Group Jounal, Vol. II, 1992, pp. 19–31 TEXT © THE AUTHORS 1992 LEONI’S DRAWINGS FOR 21 ARLINGTON STREET Richard Hewlings n April 1991 the Drawing Collection of the British Architectural Library purchased a volume of 14 architectural drawings, six explanatory pages and a title page inscribed Ithus: The Original Draughts, For a new House to be Built in Arlington Street, St. James, For the Rt: Homble the Lord Vist: Shannon &c. &c. &c. To Whom these Sheets with the utmost Respect are Humbly Inscribed by James Leoni the Inv:r and Direct:r of it May 25th : 1738. The “Lord Vist: Shannon” was Richard Boyle, 2nd (and last) Viscount, grandson and heir of Francis Boyle, the sixth and youngest son of the “Great” Earl of Cork, founder of the Boyle dynasty. Both Viscounts were soldiers. The first was ennobled in 1660 for his part in suppressing the rebellion in Ireland. The second had an exceptional professional career, becoming field-marshal of all the King’s forces jointly with the 2nd Duke of Argyll. He was born about 1674 and married twice, first, in 1695, to a daughter of the 5 th Earl of Dorset, and widow of his cousin Roger, 2nd Earl of Orrery, secondly (after 1710) to Grace Senhouse, daughter of a Cumberland gentry family from Netherhall, near Maryport. By her he had a daughter, also called Grace, who in 1744 (after his death) married Charles Sackville, then Earl of Middlesex, and from 1765 2nd Duke of Dorset.1 Grace was Lord Shannon’s sole heiress, and she or her husband continued to occupy the Arlington Street house until its sale to Lord Weymouth between 1765 and 1769.2 The head of Lord Fig. -
Robert Adam 2017 Laureate
Robert Adam 2017 Laureate Contents Press Release ……………………………………………………………… 2 Images …………………………………………………………………….. 4 Driehaus Prize ……………………………………………………………. 13 Ceremony Choregic Monument Past Laureates Henry Hope Reed Award …………………………………………………. 14 Medal Past Recipients Jury ……………………………………………………………………….. 15 Press Release Robert Adam named 15th Richard H. Driehaus Prize Laureate James S. Ackerman posthumously presented the Henry Hope Reed Award Robert Adam, an architect known for his scholarship as well as his practice, has been named the recipient of the 2017 Richard H. Driehaus Prize at the University of Notre Dame. Adam, the 15th Driehaus Prize laureate, will be awarded the $200,000 prize and a bronze miniature of the Choregic Monument of Lysikrates during a ceremony on March 25 (Saturday) in Chicago. In conjunction with the Driehaus Prize, the $50,000 Henry Hope Reed Award, given annually to an individual working outside the practice of architecture who has supported the cultivation of the traditional city, its architecture and art, will be presented posthumously to architectural historian James S. Ackerman. Additionally, on the occasion of the 15th anniversary of the Driehaus Prize, the jury has elected to honor the Congress for the New Urbanism (CNU) with a special award for contributions to the public realm. “Throughout his career, Robert Adam has engaged the critical issues of our time, challenging contemporary attitudes toward architecture and urban design. He has written extensively on the tensions between globalism and regionalism as we shape our built environment,” said Michael Lykoudis, Driehaus Prize jury chair and Francis and Kathleen Rooney Dean of Notre Dame’s School of Architecture. “Sustainability is at the foundation of his work, achieved through urbanism and architecture that is respectful of local climate, culture and building customs.” Adam received his architectural education at Westminster University and was a Rome Scholar in 1972–73.