Leisure Centre, Gunnersbury Park
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
GUNNERSBURY PARK Options Appraisal
GUNNERSBURY PARK Options Appraisal Report By Jura Consultants and LDN Architects June 2009 LDN Architects 16 Dublin Street Edinburgh EH1 3RE 0131 556 8631 JURA CONSULTANTS www.ldn.co.uk 7 Straiton View Straiton Business Park Loanhead Midlothian Edinburgh Montagu Evans LLP EH20 9QZ Clarges House 6-12 Clarges Street TEL. 0131 440 6750 London, W1J 8HB FAX. 0131 440 6751 [email protected] 020 7493 4002 www.jura-consultants.co.uk www.montagu-evans.co.uk CONTENTS Section Page Executive Summary i. 1. Introduction 1. 2. Background 5. 3. Strategic Context 17. 4. Development of Options and Scenarios 31. 5. Appraisal of Development Scenarios 43. 6. Options Development 73. 7. Enabling Development 87. 8. Preferred Option 99. 9. Conclusions and Recommendations 103. Appendix A Stakeholder Consultations Appendix B Training Opportunities Appendix C Gunnersbury Park Covenant Appendix D Other Stakeholder Organisations Appendix E Market Appraisal Appendix F Conservation Management Plan The Future of Gunnersbury Park Consultation to be conducted in the Summer of 2009 refers to Options 1, 2, 3 and 4. These options relate to the options presented in this report as follows: Report Section 6 Description Consultation Option A Minimum Intervention Option 1 Option B Mixed Use Development Option 2 Option C Restoration and Upgrading Option 4 Option D Destination Development Option 3 Executive Summary EXECUTIVE SUMMARY Introduction A study team led by Jura Consultants with LDN Architects and Montagu Evans was commissioned by Ealing and Hounslow Borough Councils to carry out an options appraisal for Gunnersbury Park. Gunnersbury Park is situated within the London Borough of Hounslow and is unique in being jointly owned by Ealing and Hounslow. -
The Avarice and Ambition of William Benson’, the Georgian Group Journal, Vol
Anna Eavis, ‘The avarice and ambition of William Benson’, The Georgian Group Journal, Vol. XII, 2002, pp. 8–37 TEXT © THE AUTHORS 2002 THE AVARICE AND AMBITION OF WILLIAM BENSON ANNA EAVIS n his own lifetime William Benson’s moment of probably motivated by his desire to build a neo- Ifame came in January , as the subject of an Palladian parliament house. anonymous pamphlet: That Benson had any direct impact on the spread of neo-Palladian ideas other than his patronage of I do therefore with much contrition bewail my making Campbell through the Board of Works is, however, of contracts with deceitfulness of heart … my pride, unlikely. Howard Colvin’s comprehensive and my arrogance, my avarice and my ambition have been my downfall .. excoriating account of Benson’s surveyorship shows only too clearly that his pre-occupations were To us, however, he is also famous for building a financial and self-motivated, rather than aesthetic. precociously neo-Palladian house in , as well He did not publish on architecture, neo-Palladian or as infamous for his corrupt, incompetent and otherwise and, with the exception of Wilbury, consequently brief tenure as Surveyor-General of the appears to have left no significant buildings, either in King’s Works, which ended in his dismissal for a private or official capacity. This absence of a context deception of King and Government. Wilbury, whose for Wilbury makes the house even more startling; it elevation was claimed to be both Jonesian and appears to spring from nowhere and, as far as designed by Benson, and whose plan was based on Benson’s architectural output is concerned, to lead that of the Villa Poiana, is notable for apparently nowhere. -
Proposed Café and Carriage Display, Gunnersbury Park
Proposed Café and Carriage Display, Gunnersbury Park HERITAGE IMPACT ASSESSMENT January 2015 KATHARINE BARBER AND MIRIAM HOLLAND 15 Bermondsey Square, Tower Bridge Road, London SE1 3UN [email protected] www.purcelluk.com All rights in this work are reserved. No part of this work may be reproduced, stored or transmitted in any form or by any means (including DOCUMENT ISSUE without limitation by photocopying or placing on a website) without the prior permission in writing of Purcell except in accordance with ISSUE 1 (MARCH 2014) - EALING AND HOUNSLOW COUNCILS the provisions of the Copyright, Designs and Patents Act 1988. Applications for permission to reproduce any part of this work should be ISSUE 2 (JANUARY 2015) - EALING AND HOUNSLOW COUNCILS addressed to Purcell at [email protected]. Undertaking any unauthorised act in relation to this work may result in a civil claim for damages and/or criminal prosecution. Any materials used in this work which are subject to third party copyright have been reproduced under licence from the copyright owner except in the case of works of unknown authorship as defined by the Copyright, Designs and Patents Act 1988. Any person wishing to assert rights in relation to works which have been reproduced as works of unknown authorship should contact Purcell at [email protected]. Purcell asserts its moral rights to be identified as the author of this work under the Copyright, Designs and Patents Act 1988. Purcell® is the trading name of Purcell Miller Tritton LLP. © Purcell 2015 KB/tro/234320 CONTENTS -
Sir Roger Pratt's Library
Reading as a Gentleman and an Architect: Sir Roger Pratt’s Library by KIMBERLEY SKELTON This article illuminates the changes in English seventeenth-century architectural practice when members of the gentry educated themselves as architectural professionals and as a result several became noted practitioners. The author analyses the rarely examined notes and library of Sir Roger Pratt to explore how a seventeenth-century gentleman both studied and practised architecture literally as both gentleman and architect. Also she considers Pratt’s notes chronologically, rather than according to their previous thematic reorganisation by R. T. Gunther (1928), and offers a full reconstruction of Pratt’s library beyond Gunther’s catalogue of surviving volumes. Mid-seventeenth-century England experienced a sharp change in architectural practice and education. For the first time, members of the gentry began to design buildings and to educate themselves as professionals in architecture. From the late 1650s, Sir Roger Pratt designed country houses, and several members of the landed and educated classes became prominent architects: Sir Christopher Wren, Robert Hooke, Hugh May, William Winde, William Samwell, and William Talman. These gentleman architects brought new techniques to the study of architecture since they were more highly trained in analysing text than image. Scholars have yet to consider the seventeenth-century emergence of the gentleman architect in detail; they have focused more on monographic studies of architects, patronage, and building types than on shifts in the architectural profession.1 This article explores how a seventeenth-century gentleman would both study and practise architecture; it considers the rarely examined library and manuscript notes of Sir Roger Pratt.2 I argue that Pratt practised and read as literally patron and architect – using the techniques of a patron to answer the questions of an architect designing for English geographical and social particularities. -
Preservation and Innovation in the Intertheatrum Period, 1642-1660: the Survival of the London Theatre Community
Preservation and Innovation in the Intertheatrum Period, 1642-1660: The Survival of the London Theatre Community By Mary Alex Staude Honors Thesis Department of English and Comparative Literature University of North Carolina at Chapel Hill 2018 Approved: (Signature of Advisor) Acknowledgements I would like to thank Reid Barbour for his support, guidance, and advice throughout this process. Without his help, this project would not be what it is today. Thanks also to Laura Pates, Adam Maxfield, Alex LaGrand, Aubrey Snowden, Paul Smith, and Playmakers Repertory Company. Also to Diane Naylor at Chatsworth Settlement Trustees. Much love to friends and family for encouraging my excitement about this project. Particular thanks to Nell Ovitt for her gracious enthusiasm, and to Hannah Dent for her unyielding support. I am grateful for the community around me and for the communities that came before my time. Preface Mary Alex Staude worked on Twelfth Night 2017 with Alex LaGrand who worked on King Lear 2016 with Zack Powell who worked on Henry IV Part II 2015 with John Ahlin who worked on Macbeth 2000 with Jerry Hands who worked on Much Ado About Nothing 1984 with Derek Jacobi who worked on Othello 1964 with Laurence Olivier who worked on Romeo and Juliet 1935 with Edith Evans who worked on The Merry Wives of Windsor 1918 with Ellen Terry who worked on The Winter’s Tale 1856 with Charles Kean who worked on Richard III 1776 with David Garrick who worked on Hamlet 1747 with Charles Macklin who worked on Henry IV 1738 with Colley Cibber who worked on Julius Caesar 1707 with Thomas Betterton who worked on Hamlet 1661 with William Davenant who worked on Henry VIII 1637 with John Lowin who worked on Henry VIII 1613 with John Heminges who worked on Hamlet 1603 with William Shakespeare. -
Courtly Stables and Their Implications for Seventeenth-Century English Architecture’, the Georgian Group Journal, Vol
Giles Worsley, ‘Courtly stables and their implications for seventeenth-century English architecture’, The Georgian Group Journal, Vol. XIII, 2003, pp. 114–140 TEXT © THE AUTHORS 2003 COURTLY STABLES AND THEIR IMPLICATIONS FOR SEVENTEENTH-CENTURY ENGLISH ARCHITECTURE GILES WORSLEY ne of the more hotly contested areas of The stables are described in the Office of Works Oarchitectural history is the classical revolution accounts as “two newe double stables of Brickes by in taste that took place under the early Stuarts. Did the highway with a new coatche house saddle house the simple astylar classicism prevalent after the a smiths forge house a shoeinge horse and new Restoration establish itself in the s and s, as grayners adioyninge to the same stable”. These I suggested in Classical Architecture in Britain: details are fleshed out by the Parliamentary survey of The Heroic Age , or was it the product of the the King’s properties, made after the Civil War. Its Commonwealth – a ‘Puritan Minimalism’ – as Tim description confirms the essential accuracy of Mowl has argued? Every example that marks the Smythson’s drawing and demonstrates that the arrival of this classical revolution tends to be seized Theobalds stables were of unparalleled grandeur. upon, but one of the most productive areas to They were probably the most substantial new examine has passed almost unnoticed, the stable. At building commissioned by James I before the least ten important stables built before the Civil War Queen’s House at Greenwich. The survey notes in the new astylar classical manner can be identified. that the building took the form of a great quadrangle That makes them perhaps the single most important ft. -
Literature and Architecture in Early Modern England Myers, Anne M
Literature and Architecture in Early Modern England Myers, Anne M. Published by Johns Hopkins University Press Myers, Anne M. Literature and Architecture in Early Modern England. Johns Hopkins University Press, 2012. Project MUSE. doi:10.1353/book.20565. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/20565 [ Access provided at 26 Sep 2021 14:14 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. Literature and Architecture in Early Modern England This page intentionally left blank Literature and Architecture in Early Modern England anne m. myers The Johns Hopkins University Press Baltimore © 2013 The Johns Hopkins University Press All rights reserved. Published 2013 Printed in the United States of America on acid-free paper 2 4 6 8 9 7 5 3 1 The Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu Library of Congress Cataloging-in-Publication Data Myers, Anne M. Literature and architecture in early modern England / Anne M. Myers. p. cm. Includes bibliographical references and index. ISBN 978-1-4214-0722-7 (hdbk. : acid-free paper) — ISBN 978-1-4214-0800-2 (electronic) — ISBN 1-4214-0722-1 (hdbk. : acid-free paper) — ISBN 1-4214-0800-7 (electronic) 1. English literature—Early modern, 1500–1700—History and criticism. 2. Architecture and literature—History—16th century. 3. Architecture and literature—History—17th century. I. Title. PR408.A66M94 2013 820.9'357—dc23 2012012207 A catalog record for this book is available from the British Library. -
Recorder 15.Indd
n o .15 februAry 2016 THE ECORDER The AnnuAl newsletter of The wilTshire record socieTy ediTor iAl This year’s AGM will take place on Saturday 25th June at 2.30 p.m. in St. Mary’s Church, Devizes. fter last year’s bumper issue, this year’s Recorder Sally Thomson, Editor Ais down on contributions and I would urge all members to try to contribute even a short article of buying hisTory county interest for 2017. We try to include all sorts of articles, from the homely and amusing, to the aca- n 2011 we edited a volume for the Wiltshire Re- demic; so no-one should feel they are not ‘up to it’. Icord Society of William Small’s Cherished Memo- As long as it is Wiltshire-orientated and is not solely ries and Associations, written in 1881. William Small genealogical, we will consider it for inclusion. Think (1820-90) was a painter and glazier who lived and about what constitutes an archive: it could be deeds, worked in Salisbury. We transcribed a significant part diaries, journals or letters; even military colours of the two books from the Wiltshire & Swindon Ar- have been written about, as well as graffiti (this is- chives, and wrote a substantial editorial introduction. sue), name variants, sale particulars, workmen’s bills, The first volume in particular gives valuable new a murder and a voyager, to name but a few subjects. information about early 19th century Salisbury, its Anything which uses or constitutes a record of some commercial, political and religious affairs as well as sort is ripe for inclusion. -
The Architectural Books of the Drayton Library Catalog and the Design of Drayton Hall Patricia Ann Lowe Clemson University
Clemson University TigerPrints Master of Science in Historic Preservation Terminal Non-thesis final projects Projects 5-2010 Volumes that Speak: The Architectural Books of the Drayton Library Catalog and the Design of Drayton Hall Patricia Ann Lowe Clemson University Follow this and additional works at: https://tigerprints.clemson.edu/historic_pres Part of the Historic Preservation and Conservation Commons Recommended Citation Lowe, Patricia Ann, "Volumes that Speak: The Architectural Books of the Drayton Library Catalog and the Design of Drayton Hall" (2010). Master of Science in Historic Preservation Terminal Projects. 5. https://tigerprints.clemson.edu/historic_pres/5 This Terminal Project is brought to you for free and open access by the Non-thesis final projects at TigerPrints. It has been accepted for inclusion in Master of Science in Historic Preservation Terminal Projects by an authorized administrator of TigerPrints. For more information, please contact [email protected]. VOLUMES THAT SPEAK: THE ARCHITECTURAL BOOKS OF THE DRAYTON LIBRARY CATALOG AND THE DESIGN OF DRAYTON HALL A Project Presented to the Graduate Schools of Clemson University and the College of Charleston In Partial Fulfillment of the Requirements for the Degree Historic Preservation by Patricia Ann Lowe May 2010 Accepted by: Ralph C. Muldrow, Committee Chair Robert Russell, Ph.D Ashley R. Wilson Abstract Drayton Hall, an early eighteenth-century plantation house on the Ashley River in Charleston, South Carolina, is widely considered to be the first Palladian house in the United States. Now owned and operated by the National Trust for Historic Preservation, Drayton Hall is something of a laboratory for the study of archaeology, landscape architecture, material culture, social history, and historic preservation. -
English Heritage Properties 1600-1830 and Slavery Connections
English Heritage Properties 1600-1830 and Slavery Connections A Report Undertaken to Mark the Bicentenary of the Abolition of the British Atlantic Slave Trade Volume One: Report and Appendix 1 Miranda Kaufmann 2007 Report prepared by: Miranda Kaufmann Christ Church Oxford 2007 Commissioned by: Dr Susie West English Heritage Documented in registry file 200199/21 We are grateful for the advice and encouragement of Madge Dresser, University of West of England, and Jim Walvin, University of York Nick Draper generously made his parliamentary compensation database available 2 Contents List of properties and their codes Properties with no discovered links to the slave trade 1 Introduction 2 Property Family Histories 3 Family History Bibliography 4 Tables showing Property links to slavery 5 Links to Slavery Bibliography Appendices 1 List of persons mentioned in Family Histories with entries in the Oxford Dictionary of National Biography. 2 NRA Listings (separate volume) 3 Photocopies and printouts of relevant material (separate volume) 3 List of properties and their codes Appuldurcombe House, Isle of Wight [APD] Apsley House, London [APS] Audley End House and Gardens [AE] Battle Abbey House [BA] Bayham Old Abbey House, Kent [BOA] Belsay Hall, Castle and Gardens [BH] Bessie Surtees House, Newcastle [BSH] Bolsover Castle, Derbyshire [BC] Brodsworth Hall and Gardens [BRD] Burton Agnes Manor House [BAMH] Chiswick House, London [CH] De Grey Mausoleum, Flitton, Bedfordshire [DGM] Derwentcote Steel Furnace [DSF] Great Yarmouth Row Houses [GYRH] Hardwick -
Giles Worsley, 'Thorpe Hall in Context', the Georgian Group
Giles Worsley, ‘Thorpe Hall in Context’, The Georgian Group Jounal, Vol. III, 1993, pp. 4–12 TEXT © THE AUTHORS 1993 THORPE HALL IN CONTEXT Giles Worsley FT^horpe Hall, on the outskirts of Peterborough, is a remarkable survival, but a much mis understood one. Nowhere else can one get such a powerful impression of what a mid- JL 17th-century country house was like, rising four-square among its tight pattern of walls and gates. But for much of the second half of this century Thorpe Hall has been a maternity hospital, with its interior detail carefully hidden behind protective boarding. Only now after its restoration and sensitive conversion into a Sue Ryder Home is it generally available for inspection; inspection which suggests that traditional assessments of its architectural signifi cance need re-examination. “Got this evening to Peterborow, passing by a stately palace of St John’s (one deep in ye bloud of our good King) built out of the ruines of the Bishop’s palace and cioyster.”1 The diarist John Evelyn’s dislike of the Parliamentarian builder of Thorpe Hall, Oliver St John, Chief Justice of the Common Pleas and Commissioner of the Treasury, is clear in his entry for August 30, 1654, but so is his reluctant admiration. Not that Evelyn could have seen more than the carcass of the house as the contract for the windows had only been signed in Febru ary,2 although the structure of the roof must have been in place by July the following year when Sir Justinian Isham sent Thomas Sargenson, the contractor for his works at Lamport Hall, Northamptonshire, to study the ingenious way water was conducted from the roof.3 A rainwater head of 1656 from the link block probably dates the completion of the building. -
The Perspective Landscape Scene in the English Theatre, 1660-1682
This dissertation has been 63—4670 microfilmed exactly as received JACKSON, Allan Stuart, 1934- THE PERSPECTIVE LANDSCAPE SCENE IN THE ENGLISH THEATRE, 1660-1682. The Ohio State University, Ph.D., 1962 Speech—Theater University Microfilms, Inc., Ann Arbor, Michigan DIAGRAMS DIAGRAM Page 1 Seventeenth-Century Theatre Ground Plans . 178 2 The Plan of the Hall Theatre Reconstructed by Boswell from Webb's Ground Plan for Mustapha (l 665) ........................ 179 3 Restoration Scene Change Sequence from Southern ...... ........................... 180 4 Restoration Scene Change Sequence from Langhans.......................... 183 ix 89 artists have been called the "Roman School" of painters. Their works directly influenced a northern group known as the Italianate Dutch. These were Cornells Van Poelenbergh, Bartholomaeus Breenbergh, and Jan Both. Engravings of works by all these men were collected in England. Another influence came from the Dutch painters Frans de Momper, Philip de Koninck, Jacob van Ruisdale, and Cornells Vroom, and from the Flemish painters Gillis Van Coninxloo, the Brueghel family, and Joos De Momper. These two styles repre sented by these painters will be referred to as "the northern groups." Inigo Jones seems to have been influenced about equally by the older "Italianate" painters and the Flemish. The last major influence was from native English pro- . vincial painting. This style differed from artist to artist, a result of the fact that the men were often self taught, or taught by craftsmen who had had little foreign training. The English works typically had a feeling of freshness of approach to subject matter; that is, they lacked the sophisticated and mannered tricks of the foreign schools.