tag:blogger.com,1999:blog-127568911018150492024-03-13T19:53:23.271+00:00BUILDING STOREYSObservations in History, Architecture, Conservation and Heritage from Historian Ellen Leslie. www.ellenleslie.com
__________________________________________________________________________________________Unknownnoreply@blogger.comBlogger41125tag:blogger.com,1999:blog-12756891101815049.post-53684538997869504242016-09-26T11:51:00.001+01:002016-09-26T11:53:33.707+01:00Simple Church - Great Provenance<div class="MsoNormal">
I’ve lived in my corner of south London, Streatham Hill to be exact, for 10 years now and one of the pleasing architectural aspects of this typical late Victorian red-brick residential development is St Thomas's Church on Telford Avenue. It isn’t too ostentatious in the new Edwardian style, but certainly gives a satisfying full stop when your eye scans the terraced bricks and mortar around you.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">St Thomas Church, Telford Avenue (Ellen Leslie 2016)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">St Thomas Church, Telford Avenue (Ellen Leslie 2016)</span></td></tr>
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St Thomas’s was completed in 1901 and opened by the Lord Mayor of London. The aisles and
baptistry added in 1905 and the chancel in 1926-27. The church has recently
undergone a huge refurbishment, escaping the fate of being redeveloped
into flats, and now continues to be have weekly services. With the refurbished exterior it certainly has a brighter and more optimistic
appearance these days with the addition of community space and the outside area being landscaped. In all the years
I’ve lived here though, what I hadn’t appreciated was the provenance of its
architects. Taking a close look at the foundation stone it shows the
architects were Sidney R J Smith (1858-1913) and church architect Spencer W
Grant (1879-1914).<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Sidney R J Smith</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Foundation Stone (Ellen Leslie 2016)</span></td></tr>
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Smith is most well-known for his long association with Henry
Tate, the sugar magnate. Tate (1819-1899) lived close to Streatham Common at
the imposing Park Hill. With Tate financing the project, Smith designed the 'National Gallery of British Art' at
Millbank (now Tate Britain) on the north side of the Thames in 1897. But before that, through Tate’s
own philanthropy and his chairmanship of the Lambeth library commissioners,
Smith also designed the Tate Free Library in 1887 (now the South Lambeth Library), the Durning Library
in Kennington in 1889 (funded by Jemima Durning), the Streatham Library in 1890 and Brixton Oval Library
in 1893.<br />
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<span style="background: white;">Smith’s libraries have been
described in Pevsner’s Buildings of England</span><span class="apple-converted-space"><i><span style="background: white; border: none 1.0pt; color: #373737; font-family: "helvetica" , sans-serif; font-size: 11.5pt; line-height: 150%; padding: 0cm;"> </span></i></span><span style="background: white;">as</span><span class="apple-converted-space"><i><span style="background: white; border: none 1.0pt; color: #373737; font-family: "helvetica" , sans-serif; font-size: 11.5pt; line-height: 150%; padding: 0cm;"> </span></i></span><span style="background: white;">‘enjoyable examples of minor late Victorian
municipal showmanship’ and the Durning as being ‘in an elaborate
polychromic Gothic, with arches of varies size, a gable and a tower.’ It
is eye catching and is always pleasing to stop and look at when passing through
Kennington.<o:p></o:p></span><br />
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<span style="background: white;">The church in Telford Avenue
is in the emerging Edwardian design displaying cleaner lines, which is closer to the young Grant’s
style, but both men are credited with its design. One more construction by Smith though does bear a resemblance to St Thomas's, namely Henry Tate's own mausoleum in West Norward cemetery completed in 1899. It is also likely that at this
later stage of Smith’s career it was his professional standing in Lambeth
that made his involvement in the church’s design and construction more
significant. <o:p></o:p></span><br />
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<span style="background: white;">This belated discovery at the
end of my street certainly shows that a little digging can
reveal a whole different story to what was initially assumed. </span><o:p></o:p></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-88097064680471904122016-01-10T12:43:00.000+00:002016-01-10T12:43:47.104+00:00A Decade to Remember. Ten Years as a Buildings Historian<div class="MsoNormal">
January 2016 marks a big milestone for me. 10 years ago this
month I was commissioned to research my first historic building. At the time I
was still studying for the Post Graduate Diploma in the Conservation of
Historic Buildings at the Architectural Association. Research techniques
learned on the course seemed to play to my strengths and so a fellow student
recommended me to try out with the firm of conservation architects she worked for. <o:p></o:p></div>
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The house I researched was an 1820s London townhouse by
James Burton (father of Decimus). This was an assignment that would now take me
just a few days but as a research rookie took over a month to
complete; I was learning on the job! Luckily, that assignment wasn’t urgent …
which is a rarity in this business. I wasn't going to be paid for this 'try out' but they were so pleased with the results that I was. Since then, I have carried on working on a
freelance basis for that firm as well as working with other architects, property professionals and private home owners.<o:p></o:p></div>
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In these last 10 years I have researched over 250 historic
buildings all over the country from mansions to terraced houses. I have uncovered the social and structural history of Georgian town houses and Victorian vicarages, 17th century farmhouses, 18<sup>th</sup> century manor houses, railway stations and
viaducts, fire stations, cinemas and theatres, an art deco synagogue, 15<sup>th</sup> century Wealden
hall houses, 18<sup>th</sup> century orangeries and even war memorials.<span style="font-family: "Verdana",sans-serif;"><o:p></o:p></span></div>
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What I love about this work is you never stop learning. British
history and particularly its architecture is so vast and rich. With the advance
in technology access to sources has doubled; which means double the work but also
double the results!<o:p></o:p></div>
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It’s been an amazing decade and here’s to the next 10 years!<o:p></o:p></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-12756891101815049.post-19347123536825279712015-04-19T17:46:00.001+01:002015-04-24T11:21:30.615+01:00What's in a Name?<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Apethorpe 'Palace' <span style="font-size: 12.8000001907349px;">© English Heritage</span><br />
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In the continuing effort to conserve and hold on to our
built past, it is sometimes worth stopping and asking ourselves what should be preserved? As I have said
in previous blogs, our historic buildings can't remain in aspic. Sometimes we need to be
pragmatic and accept new buildings, new vistas, and even new towns! Somehow,
some way, we carefully move forward holding onto the past but attending to the
present. <o:p></o:p></div>
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However, there is an aspect of our heritage that does not need
to change to keep up with modern times. It is something that doesn’t get in the
way of the present. It doesn’t cost anything to maintain and most significantly links us directly
to our past and our heritage.</div>
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I am talking about place names. The origin of these can stretch back centuries even millennia. Today modern England is full of ancient names
for cities, towns, villages, streets and alley ways. These names root us in our
history, whether that is Roman, Saxon, Norman or later. Sometimes names have
changed in the last 1000 years, but this has been through social evolution, common
usage over the long slow passage of time. <o:p></o:p></div>
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With this in mind, I am surprised that English Heritage, our
national champion in protecting our built past has allowed one of
our most historically important buildings to have a cosmetic change of name. </div>
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Apethorpe Hall has been renamed Apethorpe
Palace. No reason for this change appears to have been given. It has just
been presented as a fait accompli in the listing description. There is only one
other non-royal residence in England with the title “Palace” and that is Blenheim Palace. The difference is that that early 18<sup>th</sup> century house was always called a Palace. That is its original historical legacy.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8000001907349px;">The East Courtyard </span><span style="font-size: 12.8000001907349px;">© Ellen Leslie</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">South Range <span style="font-size: 12.8000001907349px;">© Ellen Leslie</span><br />
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<tr><td class="tr-caption" style="text-align: center;">View from the East Courtyard <span style="font-size: 12.8000001907349px;">© Ellen Leslie</span><br />
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Apethorpe Hall is a beautiful Grade I manor house
with origins that go back to the 15th century. In my opinion one of the most impressive houses England can boast about, and England has many. Its long history is full of highs and lows, from being the residence of the future Elizabeth I, the weekend retreat for King James I, later becoming an approved school in the
1970s and finally being rescued by government compulsory purchase. It was however, never called Apethorpe Palace, even during its days as a royal residence. </div>
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The new owner is Frenchman Jean Christophe Iseux, Baron von Pfetten. Apparently
he is very sympathetic to the house’s history and says “Our vision
for Apethorpe is to help this house regain the place in British history that it
deserves." I think that is heartening, even laudable. But by changing the name, in a stroke you
deny its past. If the name Apethorpe Hall was good enough for King James, it
should be good enough for Baron von Pfetten and certainly English Heritage. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-78156549941617396172015-03-01T09:21:00.001+00:002015-04-23T10:55:21.722+01:00To The Manor Born?<div class="separator" style="clear: both; text-align: center;">
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A common name for an old house in England is <i>The Manor House</i>. I have researched
several properties with this name, but often the title was not a true
description of the building’s historic status or function. Many weren’t and
have never been the residence of the lord of the manor. But this fact is not detrimental
to the house or its history. Often these <i>Manor
Houses</i> had an equally interesting albeit alternative life and place in the
story of the area.<o:p></o:p></div>
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<i>The Old Manor</i> in
Dorsington, in Warwickshire was originally built in the 16<sup>th</sup>
century. Research revealed that this timber-framed and liasic stone
construction had in fact been the farmhouse to the estate’s principal farm, <i>The Manor Farm</i>. Interestingly, there wasn’t a manor house at
all in the village; certainly from the 16<sup>th</sup> century onwards. There
is a moated area (with a later house built on it) and early reference to a manor house “site” ;but historically, the lords of the manor of Dorsington were
absent and simply leased the various farms and small holdings on the
estate. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">The Old Manor Dorsington in the 1920s</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">The Old Manor, Dorsington <span style="line-height: 107%;">© Ellen Leslie 2012</span></span></td></tr>
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In the late 18<sup>th</sup> century with improvements and expansion in
agriculture, a new principal residence for the farm’s tenant farmers was
constructed just down the road and the old thatched farmhouse was usefully
converted into 5 dwellings for the increasing numbers of farm workers. With a
new house for Manor Farm, a new name
was needed for the old house … <i>The Old
Manor Farm</i> was an obvious choice and <i>The
Old</i> Manor was how it evolved up to the present day.<o:p></o:p></div>
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<i>Manor House</i> in
Ware may not have been the home of the Lord of the Manor either, but in this
case its own history goes back to the 12<sup>th</sup> century, when it was part
of the Priory at Ware and probably contained the monks' dormitories. It has
been suggested that the existing building sits on the footprint of those
original sleeping quarters. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Manor House, Ware <span style="line-height: 107%;">©Ellen Leslie</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">Manor House in 1671 <span style="line-height: 107%;">©Trinity College Cambridge</span></span></td></tr>
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For this building, the title of <i>Manor House</i> came relatively late. Certainly
since the dissolution of the monasteries in the 1530s, this house was the main
residence for tenant farmers, leasing the property and surrounding agricultural
land from the estate owners, who were Trinity College, Cambridge. It had many names over the centuries, but
mainly <i>The Rectory Farm</i> or <i>The Old Parsonage</i>. </div>
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<span style="text-align: center;">These titles are also
misleading, as the house was not attached to the local church or vicar, but the
house’s ecclesiastical roots may have been to blame for these monikers and
because it sits opposite the parish church. Today though the title </span><i style="text-align: center;">Manor House</i><span style="text-align: center;"> suits it well, as it is
certainly one of the largest, oldest and most impressive buildings in the town.</span></div>
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But not all manor houses are large or imposing. <i>The Old Manor House</i> in Cholesbury, in
Buckinghamshire looks like a typical cosy village cottage, rather than the primary
building of a large estate. One thing is
for certain, it is one of the oldest surviving buildings in the village. Over
the centuries the residence of the Lords of the Manor has changed; but this
house was never their home. So why is it called <i>The Old Manor House</i>? Unlike my previous two examples, this house
wasn’t even the estate's farm house. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, Times New Roman, serif; font-size: x-small;">The Old Manor, Cholesbury <span style="line-height: 107%;">©Ellen Leslie</span></span></td></tr>
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What I did find was this was the house
where the business of the estate was managed from. Court Barons and payment of
rents and the hearing and resolution of local disputes would be held here. I
also found that this house had once been double the size, losing half its
structure at some time in the 19<sup>th</sup> century. So originally a greater
building but only losing its role in the administration of the estate in the
late 19<sup>th</sup> century when its freehold was sold.</div>
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So a property's name cannot give you a guaranteed
indication of its past. Names change over time, with origins mixed up or
forgotten. But whatever the name of a building, its past entitles it
to be of equal historic interest whatever the real story.<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-20333268146045265012015-01-11T11:45:00.003+00:002015-04-23T10:59:01.656+01:00It's Show Time!<div class="separator" style="clear: both; text-align: center;">
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2015 will be the sixth year that I exhibit at the <a href="http://lpoc.co.uk/property-show/about-the-show/" target="_blank">Listed Property Show</a> at Olympia, run by the Listed Property Owner's Club. It will also be my fifth year giving one of the expert talks at the show. The Show takes place on a weekend around the middle of February every year. Usually it means clashing with Valentine's Day, as it does this year. But if historic buildings are your first love, then there's no dilemma whether to choose a romantic weekend away with your other half or immerse yourself in all things lime mortar, lathe and plaster, timber-framed and listed. Some people combine the two!<br />
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Naturally, the core attendees are owners of our country's protected house, looking for ideas and advise to conserve, repair and maintain their precious properties. There are approximately 374,081 listed uildings in England so you can see there is a vast number of people for whom this show would apply! Of course, there are many people who are not owners and come along just because they are interested in old buildings - or they got lost looking for the National Wedding Show next door, and decided to stay!</div>
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The show provides a mixture of professional advice, traditional building crafts demonstrations as well as showcasing new technology and products to benefit a historic home. Past years have included; metal, plaster and timber craftsmen giving demonstrations; societies like The Society for the Protection of Ancient Buildings (SPAB), The Georgian Group and English Heritage giving technical advice; as well as conservation architects, interiors specialists and garden designers. This is in addition to the Listed Property Owner's Club itself imparting tax, planning and insurance advice to its members and visitors on the day.<br />
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At the show I offer free house history research and historic/architectural feature advice on my stand and I find the range and rarity of privately-owned historic buildings presented to me quite amazing. It is obvious these people love their historic homes and are keen to do the best they can for them. It is great to be able to help them turn around from a dead end in their own research, whether it's through a one-to-one with me on the stand or as a result of something I said in my Beginner's Guide talk.<br />
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The show gets bigger every year, with more specialists exhibiting and demonstrating and more<br />
owners of listed buildings coming along and gaining first hand information. I find it all great fun and<br />
judging by the faces of those who come along, so do they!<br />
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If you would like to come to the show click here for details - > <a href="http://lpoc.co.uk/property-show/tickets/" target="_blank">http://lpoc.co.uk/property-show/tickets/</a><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-52313205675710595302014-12-31T13:24:00.001+00:002015-04-23T10:59:30.628+01:00The Past in our Future<br />
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<span style="font-family: Georgia, 'Times New Roman', serif;">The end of one year and the beginning of a new one tends to draw our attention forward. If you read newspapers or magazines at this time of year, 'trends' are the subject many publications are chewing over. What's the next big thing? What old attitudes or technology are we going to discard on the wave of newness?</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Apparently we as humans are hard-wired to look for the new. Novelty is what drives our species forward. In reality though, despite the inexorable move forward, we are also living with our past. The past is what shapes us today. We would be formless and blank if we didn't carry the culmination of our lives, the kind of community we come from, the events we have witnessed, the scars sustained, the memories held on to. </span><span style="font-family: Georgia, 'Times New Roman', serif;">There is the valid opinion that we mustn't dwell in the past but at the same time, we are the walking, talking product of our past. It is what defines us. Our past has relevance today.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">The same can be said of our physical surroundings. The world around us; the landscapes, </span><span style="font-family: Georgia, 'Times New Roman', serif;">roads, villages and towns we inhabit are the product of years, decades and centuries of life </span><span style="font-family: Georgia, 'Times New Roman', serif;">that defines us today. For me a 16th century timber-framed house, a Victorian warehouse, a parade of inter-war shops or the centuries-old camber of a village thoroughfare are just as much part of today as we are. But not everyone sees it like that. For some, the past is something irrelevant even less-than, that should be sacrificed for the needs of the present and plans for the future. Worryingly there are many people in positions of influence who want to and can put that attitude into action. Not a month goes past when I don't walk down a London street to find wholesale demolition and new, shiny buildings going up. And yet we do have success stories to refute such approaches. St Pancras Hotel once faced the prospect of demolition in the face of modernity and post-war sweeping away of the old. Today that building still stands in its High Victorian splendor while also being restored and adapted to be a 21st century hotel meeting the needs of today.</span><br />
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<span style="font-family: Georgia, 'Times New Roman', serif;">So I am not suggesting that our history be set in aspic. I am suggesting that in a world of new architecture that reflects our modern times, we remember that when it comes to the built environment, the past is at the core of who we are and that it provides the depth, texture and context to our present and our future!</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Happy New Year!</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-86858124782856325842014-04-24T12:47:00.000+01:002014-12-31T16:20:49.057+00:00The Building Blocks of Albert Hall Mansions<br />
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">Albert Hall Mansions Today </td></tr>
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<span style="border: 1pt none windowtext; padding: 0cm;"><span style="font-family: Georgia, Times New Roman, serif;">The imposing confidence of the red-brick, dutch-gabled, mansion blocks that surround the Royal Albert Hall in Kensington belie the truth, that their construction was accompanied by suspicion and there was doubt that they would be a social or commercial success. The Albert Hall Mansions were the first of their kind in Great Britain located overlooking Kensington Gardens, designed by the renowned architect R Norman Shaw for the developer Thomas Hussey.<span style="color: #444444;"><o:p></o:p></span></span></span></div>
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">Albert Hall Mansions in 1881 in <i>The Building News</i></td></tr>
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<span style="border: 1pt none windowtext; padding: 0cm;"><span style="font-family: Georgia, Times New Roman, serif;">The new design concept came about because good quality accommodation in London was scarce for the middle-classes who could not afford a large town house and were seeking more of a pied-a-terre for when they were in the capital. The beauty of Norman Shaw’s design was it provided an impressive façade to complement the magnificent Royal Albert Hall next door while also providing maximum accommodation. Albert Hall Mansions was a real social and architectural departure for the British as apartment living or multi-occupancy in one building had been associated with the lower classes, charitable housing and most significantly, favoured by foreigners, particularly the French! Such was the suspicion of adopting “french ways” in those days. However it would seem that b</span></span><span style="font-family: Georgia, 'Times New Roman', serif;">eauty and utility were achieved and t</span><span style="font-family: Georgia, 'Times New Roman', serif;">he publication </span><i style="font-family: Georgia, 'Times New Roman', serif;">The Building News </i><span style="font-family: Georgia, 'Times New Roman', serif;">wrote in 1881</span><i style="font-family: Georgia, 'Times New Roman', serif;">, </i><span style="font-family: Georgia, 'Times New Roman', serif;">"This building, which has lately been erected in Kensington is situated close to the Royal Albert Hall ... it will be observed that the front or north side is divided into seven stories, whilst the back portion has nine floors in the about the same height. The object of this is to place the whole of the principle or reception rooms so as to overlook Hyde Park, and by the lesser number of stories to obtain greater height, whilst the back of the building being occupied by bed and dressing rooms, kitchens, &c., a less height, such as 10ft. 6in. or 11ft., is for all practical purposes as good; and by this arrangement a considerable amount of accommodation is gained... The portion already built, and shows in our perspective view, consists of three entirely separate blocks. In each block are eight large separate suites, and in the upper part eight smaller suites, which may easily be altered into four larger suites, if desired. Each of the larger suites is complete in itself, with the front door opening from the principal stair, and the back door from the service stair. Two lifts are provided: one for passengers and one for coals, provisions &c., situated close to the tradesmen's entrance."</span></div>
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<tr><td class="tr-caption" style="font-size: 13px;">Plans and Sections from The Survey of London</td></tr>
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="border: 1pt none windowtext; padding: 0cm;">Because of this uncertainty </span>Albert Hall Mansions was built in 3 sections, the last two only constructed once the first block was fully occupied. Mr Hussey should not have worried though. Apartments were quickly snapped up! It was a great success and soon there were mansion blocks in Mayfair, Regent's Park, Marylebone, Maida Vale, St John's Wood, Belsize Park, Battersea, Fulham and Chiswick. The collective concern that living in a mansion block was a French idea seemed to have been forgotten.<span style="color: #444444;"><o:p></o:p></span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-75588224075964623022013-12-31T12:44:00.000+00:002014-12-31T16:18:52.097+00:00Folgate Street<br />
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Just this week, I was taking a little seasonal stroll around Spitalfields, in London. The area is an architectural and historical enclave of Georgian townhouses that has been the homes and workshops for many waves of immigrants over hundreds of years, none more so that the refugee Flemish silk weavers in the 18<sup>th</sup> and 19<sup>th</sup> centuries. Once nearly lost to “progress” and City developers, the area was saved in the 1970s by a concerted campaign, led by the poet Sir John Betjeman, amongst others. If there were ever an example of the beauty and benefit of saving historic quarters in this modern life, it is Spitalfields.<o:p></o:p></div>
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While on the walk I found myself in Folgate Street and outside the unique home of the late Dennis Severs. He bought the house in 1979 and set about stripping the unprepossessing layer of 20<sup>th</sup> century living back to how it would have looked 150-200 years ago. But what makes 18 Folgate Street special is that it doesn’t just show what it looked like, it also shows how it smelled, tasted and felt as well. It is staged as if it is still lived in, with no modern heating or lighting, which adds to its sense of authenticity.</div>
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<span style="text-align: center;">The house is open to the public, but not every day and most of the time you need to book in advance. But luck was on my side. As my partner and I looked soulfully through the window at the warm and welcoming lit fire in the kitchen in the basement and pondered the next available tour times, David the curator stepped outside to tidy up before that evening’s visit. We got chatting, or more truthfully, my less-shy partner led the conversation and before we knew it David kindly invited us in.</span></div>
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It certainly was a bombardment for all the senses. You walk through the front door and leave the present day behind. We were transported back to the 18<sup>th</sup> and 19<sup>th</sup> centuries with the rooms set as if the Georgian and Victorian occupants had just left the rooms, with food and drink laid out, beds unmade and clothes discarded. The house is arranged with a story. The story is fictional but historically possible with the lives of a family (5 generations), visitors and tenants over the 150 years or so, from the 1760s to the beginning of the First World War. In the kitchen David was just cooking a Christmas hash on the small cast iron range for the “tenants” that supposedly live in sparse circumstances in the attic rooms. That food was to be laid out later for the evening tour. We sat around the warming range and talked about the house and Dennis Severs’ desire to bring people as close to the historical period as possible. We agreed it was virtually time travel. After we had steeped ourselves in the sights, sounds and smells of the dark and cosy kitchen, David showed us the rest of the house from the recycled medieval stoneware in the back basement that they would have used for building repairs, to the grand salon on the first floor, the main bedrooms on the 2<sup>nd</sup> floor and the meagre tenant attic space above. Each room gave an immediate sense of being in the past.</div>
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© 18 Folgate Street Website<o:p></o:p></div>
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In truth, it is difficult to fully convey the magic of visiting 18 Folgate Street in a simple blog. You need to see it for yourself. If you live in or are visiting London, this is a must. Booking in advance is important. You can enjoy it by day, but maybe more magically, you can experience it at night, all lit by candlelight.</div>
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You can read more about 18 Folgate Street <a href="http://www.dennissevershouse.co.uk/">here</a>. There was also a video of the house <a href="http://www.youtube.com/watch?v=yr2HtBYSNY0">here</a>, with an interview with Dennis Severs before he died in 1999.<o:p></o:p></div>
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More information about Spitalfields, its life and preservation can be seen on the <a href="http://spitalfieldslife.com/">Spitalfields Life</a> website and through the <a href="https://www.facebook.com/EastEndPSociety?fref=ts">East End Preservation Society</a>. </div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-73196399199565995432013-09-13T12:04:00.001+01:002013-09-13T12:04:04.256+01:00The Beautiful and Enduring Houses of The Weald<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Wealden Hall House - Bayleaf House © Weald and Downland Open Air Museum<div class="MsoNormal">
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I’ve just had an enquiry to research the history of a 15<sup>th</sup>
century Wealden hall house in Kent. This is a type of building that I have
quite a bit of experience of and one that gives me enormous pleasure to research. Their innate timbered beauty,
the quality of construction from so many centuries ago as well as their sheer
survival makes these buildings a favourite of mine. As the name suggests they
are usually found in The Weald, in south east England. This is an area between
the North and South Downs that runs from Kent to Hampshire, through Surrey and
Sussex. Of course nothing is that cut and dry and you can find Wealden houses
in Essex too.<o:p></o:p></div>
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Wealden hall houses were usually constructed in 4 bays with
the 2 central ones enclosing a double-height hall with a central hearth. The
smoke from this would escape through holes or specially made louvers in the
roof. At one end of the hall there would be a screen, hiding a cross passage behind
and beyond that two rooms known as the Buttery and the Pantry; the service
rooms. At the other end the ground floor rooms tended to be the Parlor, where
guests would be received, possibly with business or with matters to discuss; hence
“Parlor” from the French “Parler” – To Speak. Upstairs, the two end bays would
provide the private family area such as sleeping quarters. These were known as
the Solar and would be jettied, hanging over the length of the ground floor. Eventually
a floor was inserted to create a full-length first floor and the central hearth
was moved towards the cross passage or outer wall to create a fireplace and
chimney stack. Initially, these timber-framed buildings were thatched and would
have had wattle and daub walls. As time went on these would have been replaced
with tiles on the roof and brick infill in the walls. The 18<sup>th</sup>
century was also popular to add an entire brick skin around the house. This is
why often, timber framed buildings can remain hidden and are still being
discovered today.<o:p></o:p></div>
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To illustrate, here are 2 examples of Wealden houses that I
have researched. Both have changed significantly since the time of their construction, but beneath them are surviving Wealden Halls. The first is in Wadhurst (on the Kent and East Sussex border) and another on the far end of the Weald,
in Kirdford West Sussex. Despite the extensive change and alteration in their
long lives they still hold the fundamental dimensions and structure of their
original construction. The house in Wadhurst is 14<sup>th</sup> century and
still retains soot-blacked beams in the roof, from the days of the
double-height hall and the central hearth. <o:p></o:p></div>
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The Kirdford house is a little more recent, around 1585 and had been in such a bad state of repair it was nearly demolished in the 1990s. Thankfully it was saved.<br /><br />
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So the Wealden Hall House endures. It was a popular style of
construction then, and was a form that took centuries to evolve and eventually
be replaced by new styles of architecture.<br />
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If you want to get up close with such buildings you should
visit <a href="http://www.wealddown.co.uk/">The Weald and Downland Open Air Museum</a> in West Sussex. This museum has
rescued and reconstructed an amazing collection of traditional buildings from
the south east of England, including Bayleaf House (see top picture).<o:p></o:p></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-12756891101815049.post-36004701865324454312013-05-29T11:38:00.004+01:002014-12-31T16:21:14.051+00:00Bricks and Mortals<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: 'Baskerville Old Face', serif; font-size: 10.5pt;">Discovering
the history of the previous owners, and or guests to your property can be
fascinating, but also sometimes grisly. Can you handle the truth? It is a wonderful thing, unlocking the history of your
house. Whether you commission an historian like me, or decide to make the
journey yourself; there is a sense of anticipation and excitement about what
will be discovered. Is the house a real medieval hall house? Does the cellar
belong to a much older building that had existed on the site before? Who built
the house in the first place? What was it used for? Will the rumours about a
famous resident or visitor prove to be true?</span></div>
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<span style="font-family: 'Baskerville Old Face', serif; font-size: 10.5pt;">But when you are
investigating the history of a building, you can't pick and choose the
information. The complete story of a house would include the highs and the
lows, the good times and the bad. Are you prepared to find out that your home
has a darker past?</span><span style="font-family: 'Baskerville Old Face', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span style="font-family: 'Baskerville Old Face', serif; font-size: 10.5pt;">In
2012 I had three assignments in a row, where there was either a suicide, a
suspicious death or financial ruin (which often preceded the former). Even
though these properties were not mine, when researching you can easily become
emotionally attached. And although finding the untimely and sad end to people's
lives can be considered "run of the mill" in my work, I always take a
sharp intake of breath when the evidence is revealed! It can be upsetting,
particularly if you have followed the fortunes of a particular person from their
birth to their final days.</span><span style="font-family: 'Baskerville Old Face', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span style="font-family: 'Baskerville Old Face', serif; font-size: 10.5pt;">One
of the properties I researched was a mill in Buckinghamshire. I followed local
press stories about the owner of the house from 1830 to the 1870s. He seems to
have been a real character, either ending up in local tavern brawls, taking
fellow local businessmen to court for various perceived transgressions, or one
of his businesses catching fire (more than once) or even his own bankruptcy.
The trail of his financial demise led to the day after he officially lost his
fortune. The coroner's report which I found on Ancestry.co.uk confirmed that as
a result of "intoxication", he had fallen into the river next to the
mill. If that wasn't enough, 10 years later, his brother-in-law who had taken
over the running of the mill had taken his own life in a first class railway
carriage from London to Carlisle. </span><br />
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<span style="font-family: 'Baskerville Old Face', serif; font-size: 10.5pt;">Another
house I researched was an 18th century long house on the South Downs in Sussex.
A family had been the tenant farmers of land covering hundreds of acres for
hundreds of years. I had traced their tenure from the tender early days in the
1630s up until 1913. The family was wealthy and well-established in the area.
But this began to unravel when the head of the family, in 1844 was drowned off
the south coast aged just 42. Things didn't really improve after that. Finally,
in 1913 after over 10 years of rent arrears the patient landlord had to call in
the debt. After over 250 years of farming that land, the family were forced to
leave, the head of the family was declared bankrupt and even though his son
took over the lease, within the year the house it was up for sale again.</span></div>
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<span style="font-family: 'Baskerville Old Face', serif; font-size: 10.5pt;">The
final example was an 18th century country house in Gloucestershire. From its
construction in the 1780s it was occupied by a string of tenants and in 1903
the new tenants were a newlywed couple. Local press in 1905 reported in
lurid detail the tragic story of the wife, who following the birth of her first
child had killed herself with a knife in the house. With the benefit of modern
medicine and psychiatry for us in 2013 it is easy to see she had been suffering
from post natal depression.<o:p></o:p></span></div>
<div style="margin: 0cm 0cm 0.0001pt; outline: 0px; overflow: hidden; vertical-align: baseline;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm; vertical-align: baseline;">
<span style="font-family: 'Baskerville Old Face', serif; font-size: 10.5pt;">I
always ask my clients, before beginning the research, whether they would like
to have the "warts and all" story of their house; having said that,
very few say no. Even where I am researching just the structural evolution of
the house, more than the social side, most home owners decide to know all the
gruesome details. Would you?<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm; vertical-align: baseline;">
<span style="font-family: 'Baskerville Old Face', serif; font-size: 10.5pt;"><br /></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm; vertical-align: baseline;">
<a href="http://1.bp.blogspot.com/-NV3jZXs7x30/UaXZ21Ax0sI/AAAAAAAAAso/77cHbHXfB7Y/s1600/Bewick+funeral.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: black;"><img border="0" src="http://1.bp.blogspot.com/-NV3jZXs7x30/UaXZ21Ax0sI/AAAAAAAAAso/77cHbHXfB7Y/s640/Bewick+funeral.jpg" height="348" width="640" /></span></a></div>
<div class="f-teaser" style="border: 0px; font-family: georgia, 'times new roman', serif; font-size: 14px; line-height: 20px; margin-bottom: 10px; outline: 0px; overflow: hidden; padding: 0px; vertical-align: baseline;">
</div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="outline: 0px;"><span style="border: 1pt none windowtext; font-family: 'Baskerville Old Face', serif; font-size: 10.5pt; padding: 0cm;"><br style="overflow: hidden;" />
This first appeared in countrylife.co.uk
in January 2013 </span></span><span style="font-size: 13.5pt;"><o:p></o:p></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-66506625595145582562013-05-20T10:03:00.000+01:002014-12-31T16:18:22.005+00:00Arts & Crafts On Sea. - George, Peto and Lutyens? <br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-pcmMv0IIHeM/UZnY4-dbVmI/AAAAAAAAArk/sDjf5rmpxHM/s1600/IMG_4496.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-pcmMv0IIHeM/UZnY4-dbVmI/AAAAAAAAArk/sDjf5rmpxHM/s400/IMG_4496.JPG" height="298" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">East Court - Victoria Parade, Ramsgate (© Ellen Leslie)<br />
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The English seaside never ceases to surprise me when it
comes to architecture. But it shouldn't really as people have gravitated to the coast for health, recreation and inspiration since at
least the 18<span style="font-size: x-small;">th </span>century! The variety of architecture in English seaside
towns reflects the evolution of a place and none more so than in Ramsgate on
the east Kent coast.<o:p></o:p></div>
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Of course, Ramsgate is most famous for The Grange, the home of Augustus
Pugin, one of our most celebrated 19<span style="font-size: x-small;">th </span>century architects. The town
also has an amazing collection of 18<span style="font-size: x-small;">th </span>and 19<span style="font-size: x-small;">th </span>century
townhouses in their typical seaside distressed elegance and if you look closely,
there are small tucked away cottages of an earlier century. However, this weekend I wasn't prepared for East Court up on Victoria Parade, north of the town.<o:p></o:p></div>
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The house shouts Arts and
Crafts (my architectural weakness) sitting in among more prosaic Victorian terraced houses and streamlined 1930s buildings. The main block stands over two floors with an additional attic level. The long window range on this latter level facing the sea is
particularly striking as are the other jettied windows. What cannot be ignored are the green
(Westmoreland) slates in a fish scale setting on the exterior walls and roofs which contrast beautifully with the red
brickwork on the ground floor and chimney stacks. This immense house also boasts its own matching stable block. It also stands out with the intriguing
initials "WHW" stamped on the rainwater hopper on the front of the house.
Obviously the initials of the person who commissioned the house. <o:p></o:p></div>
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However, what was particularly exciting was that I had seen many of the specific architectural
features before. I recalled a Lutyens house I researched many years ago, near Godalming. That house was one of
Lutyen’s earliest commissions, dating to 1891. So I gingerly put a similar date
on this seafront construction. There was
the same “bottle-bottom” glazed front door, the heavily studded oak side door and the timbered verandah
overlooking the sunken garden; all very familiar. But it didn't feel completely Lutyens. Early Lutyens was more Tudorbethan. This was far more sophisticated. What also puzzled me were the
ground floor Venetian windows, which I would date as slightly older than works
by Lutyens. The last time I saw this specific design of fenestration was in
Cadogan Square in the centre of London, which was built in the 1870s and 1880s.
But I knew Lutyens is not necessarily associated with its Queen
Anne style or Flemish architecture. But, what
I found out would make perfect sense.<o:p></o:p><br />
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-w_GSHp_u4Sg/UZnY4Lre58I/AAAAAAAAArY/UBsP1bG_lyQ/s1600/IMG_4494.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-w_GSHp_u4Sg/UZnY4Lre58I/AAAAAAAAArY/UBsP1bG_lyQ/s640/IMG_4494.JPG" height="640" width="476" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The bottle-bottom glazed front door reminiscent of early Lutyens designs (© Ellen Leslie)</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-67AkKLSTpCQ/UZnY4hRdBuI/AAAAAAAAArc/PRujD7AorM0/s1600/IMG_4495.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-67AkKLSTpCQ/UZnY4hRdBuI/AAAAAAAAArc/PRujD7AorM0/s400/IMG_4495.JPG" height="400" width="298" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(© Ellen Leslie)</td></tr>
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This Grade II house was designed by the architects Sir Ernest George
and Harold Ainsworth Peto for William Henry Wills (1st Lord Winterstock)
in 1889/90. In later years it went on to be a nursery and a school. The George and Peto partnership was one of the most prolific and successful architectural practices in London in the 1880s (although they also worked all over the country). The Cadogan Square link held true as George
and Peto were responsible for several
buildings in that square and nearby streets. But East Court is certainly a departure from the “Pont Street
Dutch” of Cadogan Square and the “Tudorbethan” style they favoured for their country
clients. In fact I'd say East Court has ingredients of both those styles but heavily coated with the burgeoning popularity of Arts and Crafts. And what of Lutyens?
The young architect had been a paying apprentice at the George and Peto practice
just one year before East Court was built. So the question is does East Court carry
Lutyens contributions or was the house I researched in Godalming an homage to George
and Peto. Maybe we will never know. </div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-6nXOy71Eqfs/UZnZFKt7n7I/AAAAAAAAAr4/Sp_XoNR56TA/s1600/east+court+the+builder.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-6nXOy71Eqfs/UZnZFKt7n7I/AAAAAAAAAr4/Sp_XoNR56TA/s640/east+court+the+builder.jpg" height="441" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Original Drawing of East Court ((© RIBA Library)</td></tr>
</tbody></table>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-57266154646585915602013-05-13T18:17:00.002+01:002014-12-31T16:17:43.818+00:00Road to Nowhere?<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-_WQdApYYR-c/UZEYucGvDuI/AAAAAAAAAqU/WNKF9qsXI1E/s1600/IMG_4301.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-_WQdApYYR-c/UZEYucGvDuI/AAAAAAAAAqU/WNKF9qsXI1E/s640/IMG_4301.JPG" height="475" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Royal Avenue Looking North 2013 (© Ellen Leslie)<br />
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<tr><td class="tr-caption" style="font-size: 13px;">Royal Avenue Looking South 2013 (© Ellen Leslie)<br />
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At weekends I like to explore little historic pockets of London. Yesterday I checked out the peaceful streets behind the bustling King's Road in Chelsea. One of the curiosities I found was a beautiful avenue of Horse Chestnut trees lining a long gravelled open space with gullies either side. The trees were flanked by the fine stuccoed townhouses synonymous with this part of
London. Usually, there is a private garden in the middle of these elegant spaces;
but not here. What made it different? I checked the street name “Royal Avenue”. Looking south the trees stopped opposite
a fine set of gates that lead to Burton Court and The Royal
Hospital (a 17th century home for army veterans established by Charles II and designed by
Sir Christopher Wren). At the other end it met with the buzzing and trendy Kings Road.<br />
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<tr><td class="tr-caption" style="text-align: center;">1797 Map by Cary, showing "White Stiles"</td></tr>
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Looking into this curious yet pretty arrangement, I found
that Royal Avenue also owed its existence to Sir Christopher Wren. When it was
laid out in the late 17th century there were no houses lining it.
But looking further into the history of this small stretch of road, there seems
to be a discrepancy between when it was built, for whom and why.</div>
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<tr><td class="tr-caption" style="text-align: center;">Royal Avenue by William Evelyn Osborn 1900 (© Tate)<br />
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The plaque displayed on the site says the Avenue was sponsored by
King Charles II, but that on his death in 1685 there was no
more money to continue its development. Others say, and they are possibly more
reliable sources, that it was built in the early 1690s for William III and Mary
II as a direct carriageway from The Royal Hospital to their new residence Kensington
Palace (previously Nottingham House). However, why it went no further than the King’s
Road is not known, although lack of funds is the most probable reason.<o:p></o:p></div>
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By 1748 the short road was known as White Stiles, because of
the white fencing that lined the avenue, but was eventually renamed Royal
Avenue in the early 19th century when the town houses were built
around it. <o:p></o:p>Famous residents of Royal Avenue include Fanny Cornforth artist's model and muse of Dante Gabriel Rossetti who lived there 1869-1877 and the film director, Jospeh Losey who moved to the UK in the 1950s to avoid the McCarthy Witch Hunts. One little additional finding .... Avenue Road is the fictional home of James Bond.</div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-UeRAgCqL0f8/UZEZGl8xc3I/AAAAAAAAAqs/1PtPMp6l2Yk/s1600/484px-Dante_Gabriel_Rossetti_-_Fair_Rosamund.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-UeRAgCqL0f8/UZEZGl8xc3I/AAAAAAAAAqs/1PtPMp6l2Yk/s640/484px-Dante_Gabriel_Rossetti_-_Fair_Rosamund.jpg" height="640" width="515" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fanny Cornforth</td></tr>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-2982243415706257012013-03-19T11:36:00.002+00:002013-03-19T11:41:06.039+00:00Butcher Cumberland Comes Clean!<!--[if gte mso 9]><xml>
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<span style="font-size: small;">There was once a time when I never missed any changes to the
London urban landscape. Those were the days when virtually all my research work
was carried out within the six London transport zones. But now that I work all
over the country, keeping tabs on new developments (happening at an alarming
rate) in the centre of town, is trickier. But
last week I had to visit the Howard de Walden estate, just north of Oxford
Street. I walked through Cavendish Square, close to Oxford Circus and was
surprised to sense the fresh smell of soap. Believe you me, in this part of the
world, soap is the last thing you expect! Also something was different about the
square. I’ve known it all my life. What was it? The soap happened to be a clue.</span></div>
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</span><br />
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<span style="font-size: small;">For years there had been a large, late 18<sup>th</sup>
century stone plinth in the middle of the square, dedicated to the Duke of
Cumberland (1721-1765). This third son
of George II had defeated Bonnie Prince Charlie and the Jacobites at the Battle
of Culloden (1746). This victory made him extremely popular for a short time, but
it was his “pacification” of the Jacobites, his unbending punishment of any
enemy sympathiser, that earned him the name “Butcher Cumberland”.</span></div>
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<span style="font-size: small;">Despite his latter unpopularity the plinth, with a statue of
the Duke of Cumberland on horseback on top, erected by his small but dedicated
group of supporters, wasn’t removed until nearly 100 years later in 1868. The
plinth remained, and that is how I remembered the square.</span></div>
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<span style="font-size: small;">When I walked through last week though, the statue of “Butcher
Cumberland” and horse had been “returned”. But something wasn’t quite right<span style="font-size: small;">. T</span>he surface looked overly weather worn as if it had stood there fighting the
elements for nearly 250 years …. and it smelt of soap. </span></div>
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</span><br />
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<span style="font-size: small;">It transpired that it is in fact a soap sculpture, created by South Korean
artist Meekyoung Shin. Entitled, “Written in Soap, A Plinth Project”, it was
erected in July last year and will be there for a year, so you still have a few
months to go and see it for yourself. The purpose of the fast-eroding statue is
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<span style="font-size: small;">Could this be the way forward for other statues of
controversial individuals? Put up a soap carving for a few months and as it
erodes before our eyes, we would be coerced to consider the reputation of
the person depicted, whether the final analysis is good or bad ….</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-2607372067645535462012-12-23T17:10:00.000+00:002012-12-23T18:58:36.333+00:002012: A Year in the Life of a Buildings Historian<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">The Somerset Vicarage Pre-Victorian Addition</td></tr>
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<br />
<br />
Well, what a year 2012 has been! Jubilees and Olympics aside, it really hasn't stopped
and my work has taken me all over the country researching the history of
buildings, predominantly to support planning applications for listed buildings, but also for the owners to
simply understand their historic home better. I have also been giving talks on
house histories, architecture as well as “How To Read Your Church”, to various
groups around the country.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-GHsSunAo834/UNc5AeSx1pI/AAAAAAAAAeQ/IbFesdKbfes/s1600/1700+abraham+walters.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-GHsSunAo834/UNc5AeSx1pI/AAAAAAAAAeQ/IbFesdKbfes/s400/1700+abraham+walters.jpg" width="326" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1700 Map of Aylesford by Abraham Walter</td></tr>
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Buildings I have been privileged to uncover in 2012 include:
An early 18<sup>th</sup> century farmhouse in Hertfordshire with links to
King James I; a late 18<sup>th</sup> century mill house in Buckinghamshire with
tragic tales of bankruptcy and disaster, but with a history that stretched back
to the 9<sup>th</sup> century and an 18th century farmhouse near Tewkesbury in Gloucestershire. A project that particularly stood out was a
beautiful vicarage in Somerset, ostensibly a Victorian structure with
earlier, surviving evidence that went back as far as the 14<sup>th</sup>
century. <o:p></o:p></div>
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I also uncovered the story of a house in Aylesford in Kent,
built in 1709 and owned by barge-builders in its time. The intriguing part was
the cellar, that proved to be a good deal older than 1709 and helped us understand
its relationship with the ancient pub next door.<o:p></o:p></div>
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Other projects included two elegant townhouses in London; assessing the historic interior of a
red-brick “Pont-Street-Dutch” house in Chelsea and piecing together the story of one of John Nash’s elegant
Grade I houses in Regent’s Park. <o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-hY6WQkmFqTI/UNc5vUpSyDI/AAAAAAAAAeg/ehbK13IR3dw/s1600/1890+Poverty+Map+red.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="393" src="http://2.bp.blogspot.com/-hY6WQkmFqTI/UNc5vUpSyDI/AAAAAAAAAeg/ehbK13IR3dw/s400/1890+Poverty+Map+red.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Booth's Poverty Map of London circa 1890 Showing Regent's Park </td></tr>
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One of my favourite archives to visit is the East Sussex
Record Office in Lewes and this year, I found myself visiting ESRO to research
a 17<sup>th</sup> century longhouse on the Sussex Downs that had been occupied
by one family of tenant farmers for over 250 years. Despite staff shortages,
they couldn't have been more accommodating, helping me to pull out nearly 400
years of recorded history in the form of photographs and drawings, maps, plans,
leases and deeds for me to piece together. </div>
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One of the last projects this year was for a hotel in London which led to researching not only the story of the building and the business but also its links to the Age of Steam and the famous people, politicians, writers, philanthropists and actresses who have passed through its brass-dressed revolving doors in its 150 year history.<o:p></o:p></div>
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So what of 2013? Well, it will be my fourth year exhibiting at the Listed
Property Show at Olympia (16<sup>th</sup>/17<sup>th</sup> February). I will
also be giving a talk there on the Saturday, 16<sup>th </sup>February. This year the
show is bigger than ever with the event sponsored by The Daily Telegraph and
English Heritage. Click this link for details:<a href="http://lpoc.co.uk/property-show/">Listed Property Show 2013</a> <o:p></o:p></div>
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But the big news of 2013 is that I will be holding my house
history workshops at two of England’s most elegant and historic country house
hotels, namely Cliveden in Berkshire and Ickworth in Suffolk, starting in March
and continuing throughout the year. So, if you want to unlock the history of
your house for yourself but don’t know where to start, details about the day are
on my website! <a href="http://www.ellenleslie.com/">www.ellenleslie.com</a>.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Cliveden Housex</td></tr>
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2012 was a great year … looking forward to seeing how next
year unfolds. Thanks for reading my blog and may I wish you all a very Happy 2013!<o:p></o:p></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-12756891101815049.post-47960965051068192552012-11-11T09:47:00.000+00:002013-05-08T11:16:29.498+01:00“Simple, Beautiful and Dignified”<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-5MA5WLBvLeg/UJ9vNM9RO9I/AAAAAAAAAc8/P0teBOT51dw/s1600/sir+edwin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="189" src="http://2.bp.blogspot.com/-5MA5WLBvLeg/UJ9vNM9RO9I/AAAAAAAAAc8/P0teBOT51dw/s400/sir+edwin.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Manchester's Cenotaph (photo by Andy Marshall)</td></tr>
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Earlier this year, I was commissioned to research the
Cenotaph in St Peter’s Square in Manchester. This memorial and others around
the country serve to commemorate those from all over the British Empire and then
the Commonwealth and the Allies, who lost their lives in both World Wars and
subsequent conflicts. The design of the Cenotaph in Manchester is a virtual copy on one
that stands in the middle of Whitehall in London. It was designed by one of
Britain’s most celebrated architects, Sir Edwin Lutyens. While my research brief
was to investigate the structural aspects of Manchester’s cenotaph I had to go back and look at the original London version to acquire the full picture. While I may have been asked to investigate the physical structure, through the research it was impossible to ignore the human story of how these memorials came about.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-ffFdyNRdoYc/UJ9ua-9NRBI/AAAAAAAAAcg/S6YMJm4MALI/s1600/Sir-Edwin-Landseer-Lutyens2-232x300.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-ffFdyNRdoYc/UJ9ua-9NRBI/AAAAAAAAAcg/S6YMJm4MALI/s320/Sir-Edwin-Landseer-Lutyens2-232x300.jpg" width="244" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sir Edwin Lutyens</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-3x4Scal8Wbg/UJ9uaJ4bNlI/AAAAAAAAAcc/v0KRgBtaY-A/s1600/Alfred_Mond.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-3x4Scal8Wbg/UJ9uaJ4bNlI/AAAAAAAAAcc/v0KRgBtaY-A/s320/Alfred_Mond.jpg" width="254" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sir Alfred Mond</td></tr>
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In the summer of 1919 the Prime Minister, Lloyd George, gave
Lutyens two weeks to design a temporary memorial, to serve as a “saluting base”
for the Peace Day Parade in London on 19 July. Lutyens was already
working with the Imperial War Graves Commission designing Allied war cemeteries
in France. However, the impetus for Lloyd George to commission Lutyens was his
own visit to France in 1919, where the Arc de Triomphe and the temporarily
constructed catafalque had <i>“envisaged our
need for a point of homage to stand as a symbol of remembrance worthy of the reverent
salute of an Empire mourning its million dead.”</i><br />
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<tr><td class="tr-caption" style="text-align: center;">Lutyens Original Rough Design of The Cenotaph (Image: Imperial War Museum)</td></tr>
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Lutyen’s simple and unfussy design (an empty coffin on a
high column surmounted by a laurel wreath) was constructed of timber and plaster,
being only temporary. But the public grasped the appropriateness of the
monument and on that day the base of the monument was covered in flowers brought
by the mourning general public. For weeks after, there were queues of people
waiting to place wreaths there. It became obvious that a permanent memorial had
to be constructed.</div>
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<tr><td class="tr-caption" style="text-align: center;">Mourners in July 1919</td></tr>
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The ensuing months saw Lutyens and his “ally” in Government
Sir Alfred Mond (later 1<sup>st</sup> Lord Melchett) the First Commissioner of
Works, struggle to reign in the demands of the Cabinet to create a grander and
more elaborate war memorial. In a memo to the Cabinet in July 1920 Sir Alfred
wrote: <i>“Sir Edwin Lutyens’ authority on a
point like this can surely not be in question. His is the genius which has
created this monument which has been universally acclaimed. It is quite simple
beautiful and dignified and his whole reputation is naturally involved in the
final result …”</i> <i><o:p></o:p></i></div>
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On 11<sup>th</sup> November 1920, in Whitehall, King George
V unveiled the permanent Portland stone memorial replacing the one made of timber and plaster. Lutyens had caught the right tone with his understated, yet proud
design. The permanent Cenotaph in Whitehall weighed 120 tons and stood 35 ft
high. It was constructed by Messrs Holland, Hannen and Cubitts Limited and cost
£10,000 to construct.</div>
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Lutyens called the memorial a “Cenotaph”, from the Greek
that broadly translates as an “empty tomb”, there to honour those buried
elsewhere. In addition to the laurel wreath on the top of the Cenotaph, there
are two more on each end and on each side three flagstaffs. The sculptor
Derwent Wood designed the wreaths. The inscription “The Glorious Dead” was
chosen by Lutyens; rejecting other more effusive and even mawkish suggestions. The
design was so popular that 55 similar structures were erected in Britain,
including the one in St Peter’s Square in Manchester. This latter one has the
figure of a soldier lying on top of the memorial.<o:p></o:p></div>
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Lutyens didn’t take a penny in payment for what was arguably
one of his most important works. Benefited by his insight, we have a focal
point of few words and embellishments that at the same time says and demonstrates
everything we would want to express to “The Glorious Dead”.<o:p></o:p></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-28309623032918830152012-09-13T09:29:00.000+01:002012-09-13T09:49:08.933+01:00If Walls Could ...Meow!<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-Vr6C6lGWmhU/UFGd6-7l_gI/AAAAAAAAAcM/vW6iG54O7rI/s1600/mummified.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="222" src="http://3.bp.blogspot.com/-Vr6C6lGWmhU/UFGd6-7l_gI/AAAAAAAAAcM/vW6iG54O7rI/s640/mummified.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mummified Cats Found in the Stagg Inn, Hastings</td></tr>
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<b>Yesterday I met someone who, as we discussed various aspects of historic buildings,recalled how their parents had found the mummified body of a cat in the wall of their 18th century home. It reminded me that I had written an article about this phenomenon for Country Life Online earlier this year and thought it ought to be given a fresh airing here on "Building Storeys". </b></div>
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<span style="font-family: Georgia, Times New Roman, serif;">As recently as the early 20th century homeowners were warding off witches and evil spirits by placing shoes, and even dead cats in the walls, which can surprise owners carrying out renovations</span></div>
<span style="background-color: white; color: #272e2a; font-size: 14px; line-height: 20px;"><span style="font-family: Georgia, Times New Roman, serif;">As a buildings historian, I work with conservation architects and specialist builders who are repairing the UK's historic houses from manor houses to cottages, from the medieval period to Victorian. I see all the different building techniques and materials used over the centuries, whether cob, wattle and daub, stone, or brick. There are so many different types of building but they all have something in common; they were the homes of ordinary people who were subject to the same trials of life as each other. </span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">In the days before science and technology, and burglar alarms brought a degree of security and certainty, our ancestors had to rely on more natural methods. In the medieval centuries, right up to the early part of the 20th century making their homes safe for their families meant not just keeping robbers and murderers out but also the powers of witches and other supernatural forces. This was done by drawing protective symbols on rafters, beams and window sills or even placing objects within the walls of their home, particularly shoes or animals.</span></div>
<div style="background-color: white; border: 0px; color: #272e2a; font-size: 14px; font: inherit; line-height: 20px; margin-bottom: 10px; outline: 0px; overflow: hidden; padding: 0px; vertical-align: baseline;">
<span style="font-family: Georgia, Times New Roman, serif;">When working with old buildings, it is not uncommon to come across a mummified cat or a child's shoes in the walls, over door lintels, under roof rafters, between the chimney stack and the wall and under the floor boards. These were the lengths people went to to influence the intangible; warding off evil spirits, witches' curses and disease, or more positively, encouraging fertility.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Because cats were so readily associated with witches, it would be perfectly normal to take a cat (usually already dead) and place it in a location that was vulnerable to witches entering the house. It was widely considered that witches could fly, so a witch could get in not just through the door or window but down the chimney too. Cats were also known to sense ghosts and other supernatural beings more readily than humans, which is why it was believed, their presence in the walls of the house helped ward off such malevolent forces.</span></div>
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<tr><td style="text-align: center;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" src="http://default.media.ipcdigital.co.uk/3%7C0002dd3ea%7C9142_shoe-in-walls-article.gif" style="background-color: transparent; border: 0px; color: inherit; font-size: 1em; font: inherit; line-height: inherit; margin: 0px auto; outline: 0px; padding: 0px; text-align: inherit; vertical-align: baseline;" /></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia, Times New Roman, serif;">Shoes under floorboard (Copyright Ibis Roofing Ltd)</span></td></tr>
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<span style="font-family: Georgia, Times New Roman, serif;"><br style="background-color: white; color: #272e2a; font-size: 14px; line-height: 20px; overflow: hidden;" /><span style="background-color: white; color: #272e2a; font-size: 14px; line-height: 20px;">The Museum at Northampton, historically the centre of shoe manufacturing in England, has an Index of Concealed Shoes, which registers all footwear discovered within historic houses, not just in the UK but across the world. There are about 1500 items logged and half of them are children's shoes and then women's shoes are more common that men's. The shoes also tend to be well-worn. If not now, shoes once used to retain the foot shape of the wearer and maybe, therefore their spirit.</span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">It is also thought that the very shape of a shoe serves as a "spirit trap". This comes from the 14th century when John Schorn, the Rector of North Marston in Buckinghamshire, is reputed to have cast the devil into a boot, thus trapping him. Shoes could also be a symbol of fertility. Shoes found under the floorboards of bedrooms could indicate this.</span></div>
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<tr><td style="text-align: center;"><span style="font-family: Georgia, Times New Roman, serif;"><img alt="Historic houses - what's lurking in your walls? " height="155" src="http://countrylife.media.ipcdigital.co.uk/3%7C0002dd3eb%7Cb693_orh100000w150_shoes-in-walls-thumb.gif" style="margin-left: auto; margin-right: auto;" width="200" /></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia, Times New Roman, serif;">(copyright Ibis Roofing Ltd)</span></td></tr>
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<span style="font-family: Georgia, Times New Roman, serif;">The discovery of mummified cats (or "Dried Cats" as they are officially known), is less common than shoes. In addition to protecting against witchcraft, it is possible they are also placed within the walls of houses to scare away vermin in those concealed areas. Trying to keep a perspective on all this, it is also possible that cats found beneath floor boards had, in reality, gone there to die and had never been discovered by their owners.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">When carrying out repairs in old buildings, be careful to look around windows, doors, under roof rafters and behind old chimneys. The Northampton Index receives about one find a month, but curators there, think that hundreds of finds every year are simply thrown out. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-33643130736195196832012-06-05T08:52:00.000+01:002014-12-31T16:20:16.664+00:00Buckingham Palace - Finding Its Own Style and Place in History<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Buckingham Palace Celebrating</span></td></tr>
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<span style="background-color: white; font-family: Arial, sans-serif; font-size: 10pt;">The Diamond Jubilee and particularly the concert performed in front of Buckingham Palace last night, has brought to mind the story behind this famous building. While
it has a very recognisable façade, in comparison to other royal
palaces it lacks the opulence and uniqueness such royal buildings usually display;
it resembles a simple, staid town hall (albeit a large one) rather than a Queen's palace. But it hasn't always looked the way it does today. It has evolved through many guises since its earliest beginnings in the 1600s. </span><br />
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">The site that is
Buckingham Palace gardens today began as a royal Mulberry plantation in the
early 17<sup>th</sup> century. King James I had Mulberry trees planted for the
farming of silkworms. It would appear there was a building adjoining and there
followed a line of occupiers until the late 17<sup>th</sup> century when John
Sheffield (later the Duke of Buckingham) demolished the old building to make way for a new modern construction. Buckingham House was
completed in 1710.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-ah29SzazcEU/T82sSswm1tI/AAAAAAAAAaI/-ZegD6OOvk8/s1600/Buckingham_House_1710.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-ah29SzazcEU/T82sSswm1tI/AAAAAAAAAaI/-ZegD6OOvk8/s640/Buckingham_House_1710.jpeg" height="364" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Buckingham House 1710</span></td></tr>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">The royal family had
retained their interest in the land where the Mulberry trees were planted and
in the 1760s this gave George III leverage to buy next door (i.e. Buckingham House)
and give his wife, Queen Charlotte a private home for her and their many
children. Not surprisingly, it became known as The Queen’s House. Not that the
building was immediately to the new owners’ liking. At the cost of £73,000 it
was remodelled by Sir William Chambers.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">It was during the
reign of Queen Charlotte’s eldest son, George IV that most of the work was done
to Buckingham House. As it has been his childhood home, he was greatly attached
to the building and wanted to make it his official home. He commissioned his
favourite architect (and official architect to the “Office of Woods and Forests”)
John Nash to transform this private house into a palace. Nash’s design was
basically Buckingham House on steroids! The central block was extended on the
west side (facing the gardens) and the north and south wings were rebuilt. The
wings also created a forecourt with a triumphal arch in the centre (where the
Victoria Memorial is today). <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-Ibhc7fxqByU/T82sWTCDpyI/AAAAAAAAAaY/jqbGrfq7TNU/s1600/buckingham+palace+1837.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-size: xx-small;"><img border="0" src="http://1.bp.blogspot.com/-Ibhc7fxqByU/T82sWTCDpyI/AAAAAAAAAaY/jqbGrfq7TNU/s640/buckingham+palace+1837.jpg" height="426" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Nash's Buckingham Palace 1837</span></td></tr>
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<span style="background-color: white; font-family: Arial, sans-serif; font-size: 10pt;">Despite Nash’s
favouritism by George IV (he had remodelled the Royal Pavilion in Brighton and
transformed the centre of London with the construction of Carlton Terrace,
Regent’s Street and Regent’s Park) he had not been a very popular architect
with the Government. In addition, the rebuilding of Buckingham House into a palace had run to nearly half a million
pounds (The King kept changing his mind on the design and build). The Duke of Wellington, who was Prime Minister at the time, had Nash
fired. The building was finally completed, with further extensive alterations by
architect, Edmund Blore. But t</span><span style="background-color: white; font-family: Arial, sans-serif; font-size: 10pt;">he building was only
completed after George IV’s death in the 1830s. His successor and brother
William IV had no interest to move in. Only when his niece, Victoria, came to
the throne in 1837 did the palace appear to have a future. However, as if often
the case with a Nash building (beautiful on the large scale but lacking in the
rigour of detail) Queen Victoria found the chimneys and ventilation woefully inadequate and there was very little accommodation for her growing
family and for visitors. Blore resolved these shortcomings, which included
adding an attic floor and a new east wing.</span></div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-LIG3XVwQDE0/T82yPTSfl9I/AAAAAAAAAbU/HGYl55IWvYA/s1600/buckingham+palace+1913.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-size: xx-small;"><img border="0" src="http://3.bp.blogspot.com/-LIG3XVwQDE0/T82yPTSfl9I/AAAAAAAAAbU/HGYl55IWvYA/s640/buckingham+palace+1913.jpg" height="399" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Buckingham Palace Pre-1913 Facelift</span></td></tr>
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<span style="background-color: white; font-family: Arial, sans-serif; font-size: 10pt;">The next big change was when Queen Victoria’s son,
Edward VII commissioned the palace to be updated in the early 1900s. The
most profound alteration was the new façade on the east wing – which is the
front that we all know today.</span><span style="background-color: white; font-family: Arial, sans-serif; font-size: 10pt;"> </span><span style="background-color: white; font-family: Arial, sans-serif; font-size: 10pt;">He also
had the Victoria Memorial built (the staging for the Diamond Jubilee concert)
and the triumphal arch was moved to its new and current location at Marble Arch
at the top of Hyde Park. The Mall was widened and at the far end, Edward VII devised
Admiralty Arch to be built, in honour of his mother. All this rebuilding was
undertaken by Sir Aston Webb, an establishment figure, well-known for his
public buildings since he set up in practice in the 1880s and former President of the RIBA and Gold Medal winner. He may not have been
one of the most flamboyant or notorious of architects, but he could be relied
on to carry out the King’s wishes appropriately and on budget!</span></div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-SE7o5wKYTwE/T82sVhnIsJI/AAAAAAAAAaQ/1E2Q5loMz0c/s1600/Buckingham_palace1913.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-SE7o5wKYTwE/T82sVhnIsJI/AAAAAAAAAaQ/1E2Q5loMz0c/s640/Buckingham_palace1913.jpg" height="488" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Webb's East Wing Facade Under Construction - 1913</span></td></tr>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;"> <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">Just like his great uncle,
George IV, Edward VII didn’t live long enough to see his vision for Buckingham
Palace completed. He died in 1910, the Victoria Memorial was dedicated in 1911,
Admiralty Arch completed in 1912 and the Portland Stone east wing façade of
Buckingham Palace in 1913.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">The only other
significant changes since then were not planned. Buckingham Palace was bombed
no less than seven times during World War II. The private chapel on the south side was completely destroyed then but today is the location of the Queen’s
Gallery.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">Buckingham Palace is
more important historically than architecturally, however that safe civic
building style created by Webb, gives a timelessness that serves as the perfect
backdrop. It doesn’t overshadow the events going on in and around it. It has been
the perfect stage for marking key events in Great Britain’s 20<sup>th</sup> and 21<sup>st</sup>
century history, from the Armistice in 1919, to today’s
Diamond Jubilee celebrations.<o:p></o:p></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-78037094548548578592012-04-18T17:16:00.000+01:002012-04-18T17:17:23.926+01:00Samuel Hieronymus Grimm - No Fairy Tale!<span style="font-family: Georgia, 'Times New Roman', serif; text-align: left;">When
I am researching a house which would have been of some repute and substance and
also would have existed in the late 18th <span style="font-size: small;"> century, I always check to
see if it had been drawn by the Swiss artist Samuel Hieronymus Grimm. He was a
fantastically detailed and accurate topographical artist who captured scenes
and buildings with satisfying clarity. He started his career drawing alpine
scenes in his native country and after working his way through France, settled
in England in 1768. </span></span><span style="font-family: Georgia, 'Times New Roman', serif; text-align: left;">His greatest patron
was Dr Richard Kaye, a clergyman whose career saw him rise from country parson
to Dean of Lincoln. Dr Kaye amassed over two and a half thousand drawings by
Grimm, the bulk of which he bequeathed to the British Museum. </span><span style="font-family: Georgia, 'Times New Roman', serif; text-align: left;">In the course of my
work I have had two assignments where Grimm has captured the building in
question. The first was Leyden House and neighbouring buildings along the Thames
Bank at Mortlake, drawn in 1778. Today close to the end of today’s
Oxford/Cambridge Boat Race. </span><span style="font-family: Georgia, 'Times New Roman', serif; text-align: left;"> </span><span style="font-family: Georgia, 'Times New Roman', serif; text-align: left;">See below.</span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-uTd6bLNbNEg/T47gE9vSuqI/AAAAAAAAAZQ/A8005DEjgjs/s1600/Grimm+BM+Image.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="533" src="http://2.bp.blogspot.com/-uTd6bLNbNEg/T47gE9vSuqI/AAAAAAAAAZQ/A8005DEjgjs/s640/Grimm+BM+Image.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Above and Below: Thames Bank, Mortlake in 1778</td></tr>
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<a href="http://4.bp.blogspot.com/-JXaLGFiPi1c/T47gF125PoI/AAAAAAAAAZY/MXt2wI5KWoc/s1600/grimm+thames.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="517" src="http://4.bp.blogspot.com/-JXaLGFiPi1c/T47gF125PoI/AAAAAAAAAZY/MXt2wI5KWoc/s640/grimm+thames.jpg" width="640" /></a></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">The second location
was Hammonds Place in Burgess Hill in West Sussex. Grimm had drawn over 900 images
of Sussex in total (commissioned by Sir William Burrell in
the 1780s). They were exhibited in 1797 and Hammonds Place was later included in a compendium of
drawings of English manor houses, dated 1846 entitled <i>“<span class="apple-style-span">Studies of ancient
domestic architecture, principally selected from original drawings in the
collection of the late Sir William Burrell, with some brief observations on the
application of ancient architecture to the pictorial composition of modern
edifices”</span></i><span class="apple-style-span"> .</span></span><span style="font-family: 'Baskerville Old Face', serif;"><o:p></o:p></span><br />
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<a href="http://2.bp.blogspot.com/-wV91TZWjnqY/T47hS2LJ_hI/AAAAAAAAAZg/ptA_FSRtofs/s1600/1790s+Burrell+Collection+Lambert+&+Grimm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="325" src="http://2.bp.blogspot.com/-wV91TZWjnqY/T47hS2LJ_hI/AAAAAAAAAZg/ptA_FSRtofs/s640/1790s+Burrell+Collection+Lambert+&+Grimm.jpg" width="640" /></a></div>
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<span style="font-size: 12pt;"><span style="font-family: Georgia, 'Times New Roman', serif;">It was obviously considered appropriate at some point to make alterations to the images. The first image is the most revealing, showing the original barn at Hammonds Farm. However the image that was eventually published in 1846 (altered by an unknown hand) shows the building in isolation with neighbouring buildings camouflaged by trees and neater lines giving the house a less lived-in appearance.</span></span><br />
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<a href="http://2.bp.blogspot.com/-4lyAaYzmicI/T47hXq0jK-I/AAAAAAAAAZo/OLqyoVB9-do/s1600/1846+S+H+Grimm+prob+earlier.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="363" src="http://2.bp.blogspot.com/-4lyAaYzmicI/T47hXq0jK-I/AAAAAAAAAZo/OLqyoVB9-do/s640/1846+S+H+Grimm+prob+earlier.jpg" width="640" /></a></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">In
addition to the panoramic views, Grimm had also drawn details of some of the buildings.
In the case of Hammonds Place, the front door of this predominantly Elizabethan manor house. This was made all the
more pleasurable when you see that the said door is still there, if a little weather-worn, 200 years later!<span style="font-size: small;"><o:p></o:p></span></span></div>
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<a href="http://1.bp.blogspot.com/-qcGlJBSrzpo/T47iCmaR3fI/AAAAAAAAAZw/hygTI-8yMpA/s1600/British+Library+Front+Door+Hammonds+Place.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://1.bp.blogspot.com/-qcGlJBSrzpo/T47iCmaR3fI/AAAAAAAAAZw/hygTI-8yMpA/s640/British+Library+Front+Door+Hammonds+Place.jpg" width="391" /></a></div>
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<a href="http://4.bp.blogspot.com/-sFWYMjhOXRk/T47kunIWHdI/AAAAAAAAAaA/YmCp1f93yBo/s1600/IMG_1717+-+Copy.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-sFWYMjhOXRk/T47kunIWHdI/AAAAAAAAAaA/YmCp1f93yBo/s640/IMG_1717+-+Copy.JPG" width="361" /></a></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;"> </span><span style="font-family: Georgia, 'Times New Roman', serif;">If
you are interested to know more, Grimm’s drawings are available to view through
the British Museum, the British Library and the V&A Drawings Collection.</span></div>
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<br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-967425091851040672012-03-09T08:19:00.000+00:002012-12-18T14:17:54.396+00:00Orangery Origins and Today<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-peKQ9esvvNY/T1m2w2-folI/AAAAAAAAAYY/hljo-C5qiHE/s1600/longleat.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="474" src="http://3.bp.blogspot.com/-peKQ9esvvNY/T1m2w2-folI/AAAAAAAAAYY/hljo-C5qiHE/s640/longleat.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: x-small;">The Orangery at Longleat</span></b></td></tr>
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<span class="apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="line-height: 16px;">The other day I went for an initial site visit to a new assignment; to uncover the history of a fine country house in the West Country. </span></span><span class="apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="line-height: 16px;">It was at least eighteenth century but with a substantial Victorian addition on the front. </span></span></div>
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<span style="font-family: Times, 'Times New Roman', serif;"><span class="apple-style-span"><span style="line-height: 16px;">The owners had recently had what I will call in general terms a glazed room attached to the rear elevation. It was a stylish construction; a combination of timber, brick and glass in a square formation and a hipped partially-glazed roof. Given the low-ceilings and dark rooms of the </span></span><span style="line-height: 16px;">rear of the eighteenth</span><span style="line-height: 16px;"> </span><span style="line-height: 16px;">century part of the building it was much a much-needed and appropriate addition to the whole house. However, I was struck by the fact that it was referred to it as an “Orangery”. The designation of rooms and their names can change over time and this has certainly happened with this part of a house. </span></span></div>
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<span style="font-family: Times, 'Times New Roman', serif;"><span class="apple-style-span"><span style="line-height: 16px;">These days a glazed construction on a house could be an Orangery, a Conservatory, a Garden Room or a Sun Room. </span></span><span style="line-height: 16px;">Having said that, I suppose an Orangery can be one purely through its use. If you grow oranges and other similar citrus fruit, then wherever they are growing is an orangery and the style of housing is irrelevant. However, speaking architecturally and historically, we can be a little more specific.</span></span></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-12756891101815049.post-90370568078826474222012-01-04T10:20:00.001+00:002012-01-04T10:41:42.701+00:00Of Hearth and Home<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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I have been thinking about which features of domestic buildings, certainly in England, have had the most impact, not simply on architecture but also on changing society and people’s lives. There are a few candidates; glass in windows, brick replacing timber-framing and cavity-wall insulation to name but three. But I think the prize has to go to the humble fireplace and chimney stack.<br />
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I have just completed the history of a timber-framed house in the Weald of Kent. Its origins date back to the late 14th century. It isn’t the oldest building I’ve researched, but very nearly! Despite 700 years of change and alteration, the early days of the building can be most clearly seen in its roof and specifically the blackened king post (now no longer in a supporting role). Despite the house’s three floors and collection of several small rooms within its walls today, this building was once one open hall. <br />
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Before fireplaces were introduced into domestic buildings, all living, eating and sleeping took place in the one space. Every person and domestic animal of the household lived around the central hearth. Maybe a mezzanine-type platform, known as a Solar, would have existed at one end of the room on which the master and mistress of the house slept, but everything else was communal on the ground floor and the space open to the roof. This explains the blackening of the 14th century timbers in the Wealden house. The smoke from the fire eventually escaped in various ways, through a hole in the roof or through the joints of unplastered tiles, under the eaves or through an open door or window.<br />
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To find the origin of present day fireplaces we have to go back to Norman times, the 11th and 12th centuries. Their castles and other official strongholds tended to be of two or more storeys so having a fire in the central position was not practical. As a result they would put the fire in a shallow recess under an arch in the side wall of the chamber. The back of the recess sloped upwards and finished with a hole for the smoke to escape through the outside wall. Often there wasn’t a recess for the fire itself but a hood was constructed over the hearth. </div>
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Returning to the 14th century Wealden house; despite the presence of a large and imposing stone fireplace on the ground floor and a substantial brick construction on the first floor dating to the 16th century, the stack and hearth are relative newcomers in the story of this house. In the 16th century this was a yeoman’s house, a farmer’s house. So not a place for nobility, but not for peasants either. It was the quintessential rural middle-class home. </div>
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The chimney was built on what was the eastern exterior wall and of all the changes in the long life of this house, the introduction of a stack and fireplace can be considered the most important. With the introduction of fireplaces at the side of the building, floors and ceilings could be inserted and designated rooms created. With fireplaces in general, significantly it introduced the concept of “Privacy” in normal domestic life. No other architectural development has had such a profound influence on our domestic structures and on how we conduct our lives. </div>
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I find this pleasingly ironic as today in the early 21st century we seem to be on a wave of knocking down and knocking through - creating more communal living space. </div>
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</div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-12756891101815049.post-62771409429062533762011-12-07T06:49:00.001+00:002011-12-07T07:06:15.617+00:00No Need to Fear Unesco's Threats. It's Time to Celebrate.<br />
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<tr><td class="tr-caption" style="text-align: center;">From the Tower of London Across to The Shard<br />
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Image ©Ellen Leslie<o:p></o:p></div>
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<span style="color: #2a2a2a; font-family: Tahoma, sans-serif; font-size: 10pt;">The world heritage cultural
organisation Unesco is threatening to downgrade the Tower of London in the
World Heritage Site rankings and put it on the Heritage in Danger List because
of the negative visual impact that the Shard is having on its panorama. The
1,020ft-high Shard, a 66-storey office block next to London Bridge on the south side of the Thames, will be the
tallest building in Europe when it is finished.<o:p></o:p></span></div>
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<span style="color: #2a2a2a; font-family: Tahoma, sans-serif; font-size: 10pt;">Apparently such downgrading
will affect tourism and put London in a bad light. Something the Department for
Culture Media and Sport are keen to avoid – particularly in 2012 when the
decision is likely to be made – as it will be at the same time as the Queen’s Diamond
Jubilee celebrations and, of course, the Olympics. I think the DCMS should have
a little more faith in their own capital city.<o:p></o:p></span></div>
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<span style="color: #2a2a2a; font-family: Tahoma, sans-serif; font-size: 10pt;">Earlier this year I spent a
day at the Tower and one of my abiding memories (which I photographed) was the
view from the Tower over to the South Bank, where the Shard is being built. My
first reaction then, which I still hold firmly today, is that the juxtaposition
of these two sites shows what a living breathing, vibrant and vital city London
is, was and always will be. 1000 years of history in one panorama. Now, <i>that</i> is something to be proud of!<o:p></o:p></span></div>
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<span style="color: #2a2a2a; font-family: Tahoma, sans-serif; font-size: 10pt;">London is one of the most
popular tourist destinations in the world. It doesn’t take a Unesco ranking to
determine the footfall here. London is also home to 8 million people, a city of
now, that is constantly changing to meet the needs of its citizens – which it
has done so for 2000 years. Now, I’m not advocating that any new construction
is valid. If modern day developers had their way, the Tower of London site
would be a valuable piece of real estate … but London and its planners, should
not be afraid of the new rubbing shoulders with the old.<o:p></o:p></span></div>
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<span style="color: #2a2a2a; font-family: Tahoma, sans-serif; font-size: 10pt;">The fact that the city isn’t
preserved like a precious family heirloom, with nothing changing, shows that London has a job to do. It
has a life to live. It has purpose. Unlike some cities that live on glories past
and seem to deny the present, London celebrates both.<o:p></o:p></span></div>Unknownnoreply@blogger.com1London, UK51.508129 -0.12800551.350858499999994 -0.44248850000000006 51.6653995 0.18647850000000002tag:blogger.com,1999:blog-12756891101815049.post-69790277245902495712011-10-31T07:27:00.000+00:002011-10-31T07:27:09.916+00:00Taking My Kew<br />
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This weekend, I had the fantastic opportunity to go on a
photographic course at Kew Palace, in Richmond. It was run by Historic Royal
Palaces and led by photographer Emily Harris. I love taking pictures of
architecture, as I hope my Facebook and Flickr pages show, but I was useless at
photographing indoors and this course was specifically for learning how to
capture historic interiors with a digital SLR camera. We were a select group of 7 and had the small but perfectly
formed “Palace” to ourselves as the place is officially closed to the public in
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Kew Palace is one of HRP’s more recent restorations. I had
the privilege of visiting it half way through the restoration/conservation back
in 2006, so it was a pleasure to see the place in a more finished state. Not
that it is has been completely returned to resemble a royal residence. While
some rooms have been painstakingly decorated and furnished to show how the
house may have looked in about 1808, there are whole rooms untouched, with bare
floorboards and unfinished walls. These allow you to see how the walls were
constructed, layer by layer and give a fleeting look at the earlier, 17<sup>th</sup>
century fabric of the building behind.<o:p></o:p></div>
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Kew Palace has its origins in the 16<sup>th</sup> century,
with a Tudor undercroft as testament. It used to be called The Dutch House as
it is constructed in the unmistakeable Dutch style and inside is laid out over
3 floors with the undercroft below and servants living quarters in the attic. <o:p></o:p></div>
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The exterior structure we see today was built in the 17<sup>th</sup>
century, the home of a wealthy merchant and was then converted to be a home for
King George III his wife Queen Charlotte and 10 of their 15 children. Spending
my day there, I learned that the house was mainly for the children and the
Queen. George lived in an extension to the house, long since demolished. This
was because George III was the unfortunate monarch who suffered from the
disease “Porphyria” which manifested itself mainly in apparent raving madness. <o:p></o:p></div>
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But in his moments of sanity George and his wife were a
devoted loving couple, who enjoyed the relative simplicity and small scale
living at Kew with their children. Not that it was much fun for 3 of their
daughters who lived there; liking its remoteness and their lack of a social
life to being in a nunnery!<o:p></o:p></div>
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When one’s abiding passions are historic buildings and
photography there isn’t much about an historic interiors photography day at Kew
that I could fault. In fact there wasn’t. As a result, I like to think I can
now take a mean interior shot and that this’ll translate in the research I
prepare for my clients. But above all, my abiding memory will be having such
privileged access for a whole day in one of Historic Royal Palace’s most beautiful
and remarkable buildings.<o:p></o:p></div>
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Some of the photographs I took from the day will be posted
on the <a href="https://www.facebook.com/historicbuildingsresearch?sk=info" style="text-align: left;">Historic Buildings Research</a><span class="Apple-style-span" style="text-align: left;"> Facebook page and on my </span><a href="http://www.flickr.com/photos/ellenleslie/" style="text-align: left;">Flickr</a><span class="Apple-style-span" style="text-align: left;"> page too.</span></div>
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<o:p></o:p></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-12756891101815049.post-36796908365722718732011-10-12T10:25:00.002+01:002014-12-31T16:17:09.925+00:00Recording the New: The Architectural Photography of Bedford Lemere & Co. 1870-1930<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: xx-small;">The Victoria & Albert Museum Entrance </span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: xx-small;">Under Construction in 1908 (Sir Aston Webb)</span></div>
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<span class="Apple-style-span" style="color: #444444; font-family: Georgia, serif; font-size: 13px;">If you find yourself in London between now and the end of the month I recommend a visit to the Victoria and Albert Museum for the last days of an exhibition co-curated by the Royal Institute of British Architecture (RIBA) and English Heritage, showing the work of the architectural photography firm Bedford Lemere & Co.</span></div>
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<span class="Apple-style-span" style="color: #444444; font-family: Georgia, 'Times New Roman', serif;"><span style="color: #444444; font-family: Georgia, serif; font-size: 10pt;">In my work I am always pleased if the photographs of Bedford Lemere come up on my search radar. The amount of information I can extract from one image is invaluable, whether it’s comparing changes in the external appearance of the building with the structure today or seeing how the house was decorated or furnished over 100 years ago.</span><span style="color: black; font-family: 'Times New Roman', serif; font-size: 10pt;"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">43 Harrington Gardens circa 1897</span></div>
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<span class="Apple-style-span" style="color: #444444; font-family: Georgia, serif; font-size: 13px;">At the company’s height it only employed a maximum of four photographers but photographed the work of many leading architects of the Victorian and Edwardian period. Bedford Lemere‘s sharp definition greatly appealed to their clients – architects, contractors and building owners – who above all wished to obtain an almost documentary record of the work they had carried out or commissioned.</span><span class="Apple-style-span" style="color: #444444;"> </span><br />
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<span class="Apple-style-span" style="color: #444444;"><span style="color: #444444; font-family: Georgia, serif; font-size: 10pt;">Photographer, Bedford Lemere established his commercial photography business in the 1860s and he, his son Harry and the company became famous for their architectural images. The firm continued into the 1940s and English Heritage and the RIBA now own a huge collection of their work numbering over 8,000 images originally photographed on 12” x 10” plates.</span><span style="color: black; font-family: 'Times New Roman', serif; font-size: 10pt;"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="color: #444444;"><span style="color: #444444; font-family: Georgia, serif; font-size: 10pt;">The external images stand out from contemporaries because apparently Bedford Lemere worked to a set formula that involved photographing buildings first thing in the morning with the crisp early light and with very few people around. The clarity and detail achieved was remarkable and sometimes it is possible to think that it was taken only yesterday. It is only the lack of cars or satellite dishes or the absence of modern furnishing that tells you otherwise.</span></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Midland Grand Hotel 1890s</span></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-12756891101815049.post-75354537190596467452011-09-12T09:46:00.000+01:002011-09-12T09:46:13.614+01:00How Old Is My House?<div class="MsoNormal" style="line-height: 150%;">When people want to find out the history of their house the two most popular lines of enquiry are; who lived there and how old is it? But before you can start to discover the occupants of a house, the date of construction is fundamental to understanding its past.<o:p></o:p></div><div class="MsoNormal" style="line-height: 150%;"><br />
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-size: xx-small;">opyright Ellen Leslie</span></td></tr>
</tbody></table><div class="MsoNormal" style="line-height: 150%;">Finding out the age of a building can take you down many paths. The most obvious clue is if there is a date on the building. But don’t let that fool you. Last year I researched a house with 1566 displayed prominently above the front door. But in fact, that date marked the year the house had been extended. The building’s origins went back to 1450.</div><div class="MsoNormal" style="line-height: 150%;"><o:p></o:p></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%;">When working out the date of construction, start by looking at the building itself. What is the style? Does it ooze Victorian Gothic or display Georgian symmetrical restraint? How big are the windows? The smaller the panes of glass the chances are the building is earlier rather than later. I also strongly recommend the book “Period House Fixtures & Fittings 1300-1900” by Linda Hall (published by Countryside Books). It is a fantastic reference source for dating architectural features inside and out!<span> </span>But the features themselves don’t tell the whole story. A building can be altered adapted many times over the centuries.<o:p></o:p></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%;">So to continue your search, you should also speak to the local history society who would know more than anyone in the area how long the building has been standing. A local historian may have also written about the street or area in which you live. <o:p></o:p></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%;">When I am researching buildings I always combine a site inspection with documentary evidence to support what I have seen. If you have a hunch that your building is late 19th <sup> </sup>or early 20th century, go and have a look at the census returns that are available through your local archive. These could tell you not only if the building existed at all at the ten year intervals between 1841 and 1911 but also if it was occupied or even under construction. Local archives also hold collections of photographs that may include your house, narrowing down the possible date even more.<o:p></o:p></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%;">You can check other general records like poor rate books or parish records for reference to your house or street. However, one of the most useful tools for determining the age of your house has to be maps. Maps prior to 1800 can involve a little artistic licence, but they are good indicators and certainly from the beginning of the 19<sup>th</sup> century with the influence of the Ordnance Survey, maps of many styles and types can work as a guide to locating and confirming, if not the year, a narrower time frame in which your house was built. <o:p></o:p></div><div class="MsoNormal" style="line-height: 150%;">Of course, if your house is obviously older than 1800; if the timber frame and king post in the roof suggests 16<sup>th</sup> or even 15<sup>th</sup> century then it is possible that manorial records can shed some light on its origins. </div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-5kU_l-poPMI/Tm3DXOceF8I/AAAAAAAAAVM/94GCv29xxpY/s1600/1783+Cropped.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="281" src="http://2.bp.blogspot.com/-5kU_l-poPMI/Tm3DXOceF8I/AAAAAAAAAVM/94GCv29xxpY/s320/1783+Cropped.jpg" width="320" /></a></div><div class="MsoNormal" style="line-height: 150%;">The older your house the more alterations and additions it would have undergone. I recently researched a building with structural elements surviving from the 15<sup>th</sup> century, but with extensions and alterations in every century, right up to the 21<sup>st</sup>. It can be a complicated process but documentary evidence can shed light on these changes.</div><div class="MsoNormal" style="line-height: 150%;"><o:p></o:p></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%;">If your house is listed, check the date in the listing description. A word of warning though; these descriptions are merely a guide and cannot be seen as 100 per cent reliable. Two listed buildings I recently researched were woefully wrong. In one case it was wrong by nearly 200 years! You could also check the title deeds of your house. However, unless you manage to locate the early version, modern day Land Registry records rarely go back further than 50 years.<o:p></o:p></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: left;">The method of dating, like all other research into the history of a building, always requires a mixture of examining the bricks and mortar (or wattle and daub) and documentary evidence. One supports the other; and if you combine all these methods and sources, you should be successful in finding out how old your house is.<o:p></o:p></div><div class="MsoNormal" style="line-height: 150%; text-align: left;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: left;"><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This article by Ellen Leslie first appeared on www.countrylife.co.uk 19 Aug 2011 as part of the Projectbook Blog Series.</span></i></div><div class="MsoNormal" style="line-height: 150%; text-align: left;"><br />
</div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-12756891101815049.post-415939929327949552011-08-10T14:34:00.000+01:002011-08-10T14:34:06.587+01:00Lavender Hill Mob Rule<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><br />
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<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/q97lphlClto?feature=player_embedded' frameborder='0'></iframe></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt;"><br />
</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt;">The history of south London may stretch back to pre-Roman times, but it was during the Victorian period that London, and significantly the city south of the Thames, expanded, with the development of the railways and the unprecedented building boom. Today this part of town can be architecturally defined by rows of terraced houses constructed in soft yellow London stock or warm red brick dating from the 1860s to the 1910s. <span> </span>South London has its more “choice” areas, but what saves it, in my opinion, is the stylish and well-built Victorian architecture. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt;">An important area south of the river is Clapham Junction. This is the busiest railway station in the UK. It is also surrounded by 19<sup>th</sup> and early 20<sup>th</sup> century developments that consequently grew up around this strategic location. Clunking great railway stations may not be your idea of beauty, but I have to admit I love our industrial built heritage. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt;">The station is on one corner of a cross roads linking the bustling Lavender Hill and St John’s Hill with St John’s and Falcon Roads. These streets are full of shops, pubs and restaurants interspersed with residential flats and houses and virtually all the buildings are Victorian. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt;">So I watched the news on Monday evening through my fingers, seeing this area under attack from the looters and arsonists. At the time I prayed that the Debenhams department store – otherwise known as the Arding and Hobbs building (built by James Gibson in 1910) would not be torched. It is an iconic building in the area and one that ironically replaced an earlier building that had burned down. My prayers were heard but I forgot to also ask for the range of buildings across the road to be saved from the mob on Lavender Hill.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: center;"><br />
<span style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt;"></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-GEoKoXfWQQM/TkKED_C-Z6I/AAAAAAAAAU0/c_oBCl0gw3I/s1600/arding+%2526+hobbs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://3.bp.blogspot.com/-GEoKoXfWQQM/TkKED_C-Z6I/AAAAAAAAAU0/c_oBCl0gw3I/s320/arding+%2526+hobbs.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Arding & Hobbs" Lavender Hill<br />
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</tbody></table><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt;"><span class="Apple-style-span" style="font-family: 'Times New Roman'; font-size: small;"></span></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-PlCKr4hxOko/TkKEeV8FGII/AAAAAAAAAU4/Doouaqc-lCE/s1600/lavender+hill.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="239" src="http://3.bp.blogspot.com/-PlCKr4hxOko/TkKEeV8FGII/AAAAAAAAAU4/Doouaqc-lCE/s320/lavender+hill.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">242-272 Lavender Hill<br />
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt;">242-272 Lavender Hill is a striking range of mainly of 4 storey Victorian Gothic buildings that scale the incline of Lavender Hill. There is a similar range reflected on nearby St John’s Road. The first and second floors unusually are three windows across. Most pleasing on the first floor are the decorative stone tympana above the glazing. Look above the modern shop fronts and you can see their beauty. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt;">I hope 270 Lavender Hill, the building that was set alight can be returned to some semblance of former glory. I know we have the skills and craftsmen in this country to do so. Whether the money is there to do so is another matter. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: "Tahoma","sans-serif"; font-size: 12.0pt;">But as a final thought, I find it ironic that these buildings stood through two world wars, IRA bombs and urban wear and tear relatively unscathed …. until this week.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><br />
</div>Unknownnoreply@blogger.com2