Archive

Posts Tagged ‘The Guardian’

Joyce Jones

March 10th, 2010

Our friend Joyce Jones, who has died aged 85, made a significant contribution to the life of Harlow, Essex, both in her professional capacity as an architect, and as an active member of the community.

She and her husband worked for the Harlow Development Corporation from the 1950s onwards. There Joyce worked as an architect/planner with Dame Sylvia Crowe, the consultant landscape architect who was responsible, together with the master planner Sir Frederick Gibberd, for the unique features of Harlow New Town's layout.

After retirement, she increased her voluntary work in the community. She was architect for the renovation and preservation scheme for Harlow's oldest building, Harlowbury chapel, dating from 1180, recording this work in the pamphlet We Saved An Ancient Monument. She also produced a beautifully illustrated history of the building and subsequently researched the history of the Harlowbury manor house, published as Landlords and Tenants.

In 1992 her book Seedtime and Harvest portrayed the work of the farmer William Barnard of Harlowbury. Other works published locally included Passmores – The Story of a House, The Secret History of Harlow's Roman Temple, and The House That Wasn't There, the story of High House, the family home since 1959.

Joyce was born in Pendlebury, Lancashire, and after obtaining her school certificate at Pendleton high school for girls, she enrolled for a five-year architecture course at Manchester University. This was interrupted by her time in the Auxiliary Territorial Service as a wireless operator during the second world war, monitoring and transcribing enemy messages for decoding at Bletchley Park.

After demobilisation, Joyce returned to Manchester and gained a first-class degree in architecture, receiving the Haywood silver medal for the best final-year student. She worked for Buckingham county council, where she met her future husband Eric, a member of the same team of architects, and also completed her MA. Joyce then moved on to Cambridgeshire county council, leaving in 1953 to marry Eric and settle in Harlow.

Her knowledge, skills, support, advice and friendship will be missed by many. Also missed will be her lunches which, although she was modest about her cooking skills (as, indeed, she was in general), included delicious soups.

Joyce is survived by Eric; her son, Lewis, and daughter, Sarah; and her granddaughters, Lucy and Sophie.


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , ,

Notes and queries: Why is Doctor Who always a Time Lord and not a Lady?

March 8th, 2010

Why is Doctor Who always a Time Lord and not a Lady? Journeys to the centre of the Earth; The meaning of a hiding to nothing

Why is Doctor Who always regenerated as a Time Lord, not a Time Lady?

In Doctor Who the process of regeneration is the renewing of every cell in a Time Lord's dying, damaged or unwanted body. Since Time Lords (and Time Ladies, and perhaps even Time Tots, as the children of Gallifrey are known) can change species when they regenerate, there is presumably no reason why they can't also swap sex. There's certainly nothing in the TV series' history to contradict this theory and indeed no way of telling whether the Master, the Doctor's sworn enemy, spent one or more of his 13 wasted lives as a femme fatale called the Mistress. 

Kieran Grant, London N22

Time Lords can be male or female. One of Tom Baker's companions was actually a female Time Lord called Romana who regenerated between seasons and I also understand that one of his recurring enemies was another female of the species called The Rani.

Apparently, the only way a Time Lord can regenerate as a member of the opposite sex is to commit suicide. This has happened at least once to my knowledge, in a Doctor Who Unbound audiobook called Exile, where he commits suicide and becomes Arabella Weir in order to hide from pursuers.

Guy Thomas, Canterbury

Why the Doctor has never managed to exchange his Y chromosome for a second X is one of the universe's great unsolved mysteries. Had he managed to do so, we might have been fortunate enough to experience the doctorly delights of the likes of Honor Blackman, Judi Dench, Sheila Hancock, Maggie Smith or Kathy Burke. Whatever the reasons for such rigid gender typecasting, lack of available talent isn't one of them.

Sheila Kirby, Esbjerg V, Denmark

The world's tallest building is the 828m Burj Dubai, but what is the world's deepest man-made structure?

Various mines and deep geological repositories for nuclear waste approach one kilometre. At 24.5km, Norway's Laerdal tunnel is the longest road tunnel in the world, and also up to 1400 metres deep. However, the record for the deepest hole is held by the Russians, who started drilling the Kola Superdeep Borehole in 1970 and reached the depth of 12,261 metres in 1989. The purpose of this hole is to study the continental crust. However, this represents only about 0.2% of the journey to the centre of the Earth.

In a tongue-in-cheek paper published in the science journal Nature, David Stevenson, professor of planetary science at Caltech, explains how a grapefruit-sized unmanned probe could reach the centre of the earth in a week or so. The first step would be to detonate a nuclear bomb to generate a crack in the Earth's crust 30cm wide and several hundred metres long and deep. Molten iron containing the probe would need to be poured into the crack the instant it formed. Being denser, the iron would sink, which would lead to the release of gravitational potential energy, melting the underlying rock. Once the glob of iron had passed, the rock would close up again. Data would be sent to the surface as vibrations. But the £6.5bn price tag means it will not be happening any time soon.

Mike Follows, Willenhall, W Midlands

"A hiding to nothing" – I know what it implies but it doesn't make sense. Can anyone explain?

It refers to a situation where one has everything to lose and nothing to gain. It is used (often in football) to describe a contest against supposedly inferior opposition where winning would be expected and produce little credit, while losing would be a calamity. The hiding refers not so much to the other team's performance but to the public outcry and humiliation.

The meaning of "hiding" is from the association of corporal punishment with the tanning of skins. Hence, "I'll tan your hide" and "give you a good hiding". So winning the uneven contest would be "nothing", while losing would be a "hiding".

Martin Skinner, Leamington Spa, Warks

Why are there no female Formula One drivers?

Due to their ancestors' roles as (respectively) hunters and nurturers, men's and women's brains evolved different pathways to help them make decisions. Women specialised in more nuanced, longer-term decisions, while men learned how to make good instant decisions. It's a bit of a generalisation, and there are obviously exceptions – the female Red Arrow, for instance, and the men who work in caring professions – but together with their numerical advantage, it explains why men become (and want to become) racing drivers and fighter pilots.

Nick Marsh, Sutton-at-Hone, Kent

Any answers

In folklore werewolves look like real wolves. That's the whole point – you don't know which is real and which is supernatural until it's too late. So why in films and TV do they look like very hairy people?

Susan Deal, Sheffield

What is the origin of the mortarboard as an item of academic dress? Why is it worn by graduates at some universities but not at others?

Lilian Dunlop, Manchester

Send questions and answers to nq@guardian.co.uk. Please include name, address and phone number.


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , , , , , ,

Response: Architects are often the last people needed in disaster reconstruction

March 3rd, 2010

Most of them focus on buildings rather than people, and will be of little use in Haiti or Chile

Steve Rose's article concerning Haiti and the demands of disaster-zone architecture is wide of the mark when he states that shelter after disaster and the plight of hundreds of millions of slum dwellers are "real, urgent problems for architects to solve" (Out of the wreckage, 15 February).

As I was told by a professor when studying some 20 years ago, the role of architects in these circumstances is "marginal at best". In fact, most architects are taught almost the exact opposite of what is needed. Architects are taught to focus on the product (a building), whereas humanitarian practitioners major on the process (involving people). For architects, ownership of the design rests with them and fellow professionals; for the aid world, engaging beneficiaries through sharing decisions is paramount.

Good post-disaster shelter interventions engage those affected in solving their own problems. When this doesn't happen, the results can be painful. As your article notes, Brad Pitt's Make It Right Foundation employed high-profile architects to produce "funky housing types" in New Orleans following Hurricane Katrina, but was criticised for "transplanting alien architecture into a context where it wasn't called for".

Too many aid-delivered shelter programmes have lacked genuine participation by affected people, and as a consequence have been poorly designed and wrongly located. Architects need to be taught this stuff if they are to be relevant in places where disasters like this happen.

Take Haiti, and now Chile. The need is immense and the issues extremely complex. As your article states: "Natural and man-made disasters have created similar circumstances around the world, where homes, schools, hospitals, and other structures are needed quickly and cheaply." Yet before the earthquake some 75% of Haiti's population was already poor. This disaster was anything but natural. Buildings fell down because of poor maintenance, lack of planning, and mismanagement. As Salvano Briceno of the UN's International Strategy for Disaster Reduction stated: "It's poverty that is at the core of these disasters."

Reconstruction in places where disasters are caused more by poverty than natural phenomena involves building back what can't be seen as much as what can. I agree with Robin Cross of Article 25, the UK's leading architectural aid charity, who says: "You need to pick up those [social and economic] threads and build a new Haiti around them."

Some architects may argue that to take this on board is too intractable and is beyond their remit. But this is the nature of the beast, and they cannot afford to ignore it. Architects must evolve to address the radically different circumstances for which they were trained.

Beyond the groundbreaking work of Architecture For Humanity and of Article 25 to which you refer, architects need to move beyond their traditional role of designers of buildings in places of relative certainty, to become facilitators of building processes that involve people in places of uncertainty and rapid change. Without this change, architects will remain on the margins of humanitarian response.


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , , , , , , , ,

The Pei master

March 1st, 2010

He is one of the world's greatest architects, whose stunning buildings have sparked both wonder and controversy. IM Pei, now in his 90s, talks to Jonathan Glancey

"It is good to learn from the ­ancients," says IM Pei with a smile. "I'm a bit of an ancient ­myself. They had a lot of time to think about architecture and landscape. Today, we rush ­everything, but architecture is slow, and the landscapes it sits in even slower. It needs the time our political systems won't allow."

Impeccably mannered and ­quietly spoken, Pei, now 92, has walked an ­architectural tightrope for half a ­century. Marrying ancient and modern, he has created buildings as influential as the trapezoid-shaped east wing of Washington's National Gallery of Art, as ambitious as the Bank of China's soaring HQ in Hong Kong, and as controversial as the Pyramide du ­Louvre in Paris. He has won pretty much every prize his profession has to offer; last month he was presented with the prestigious royal gold medal for ­architecture, a gift of the Queen, ­presented by the Royal Institute for British Architects. "A wonderful honour," he says, when we meet in London's Mandarin Oriental hotel, "for someone who hasn't really built here."

Born in Canton, south-east China, in 1917, Pei is the son of a banker and an artistic mother, who would take him to see dreamy Chinese gardens and ­mountainside shrines. "These have always been the most important ­inspiration to me as an architect," says Pei. "I have never forgotten those gardens: wonderful marriages of ­man-made and natural design. I've come back to them again and again; they are my guide as much as the work of Le Corbusier and Mies van der Rohe, who I admired as a young architect newly arrived in the US."

Despite being offered a place at ­Oxford, the lure of America proved too strong for the young Pei. "I liked the America of Bing Crosby, Charlie Chaplin and Buster Keaton – it was all a dream, of course, but a very alluring dream for a young man from Canton." It drew him to San Francisco, and from there to a string of east coast universities, where he studied under Walter Gropius and Marcel Breuer. His intention had been to return to China, but war broke out and he stayed on to become a US ­citizen, setting up his own practice in 1960.

A rose-red vision in the Rockies

Pei's reputation was made with the opening, in 1967, of his bold laboratories for the National Centre for Atmospheric Research in Colorado. Clad in local stone that goes from pink to rose-red to ruddy brown with the passing sun, these geometric labs look and feel like an extension of the Rocky Mountains; yet they are defiantly man-made, right down to the slits and chutes cut into their walls. "When I first came to this awe-­inspiring landscape," says Pei, "it was as if I was standing with my mother again, on a sacred mountainside in China." This being Colorado, though, he looked for inspiration locally. "I ­visited the nearby Indian pueblos," he says, referring to the 13th-century Native American cliff dwellings, "and absorbed their forms and structure."

Pei was 50 when the labs opened; architecture, as he says, shouldn't be hurried. "As a young man, of course I had been looking for something new, even revolutionary. I knew what Le Corbusier was doing. I wanted to go his way. But, after some years, I began to think differently. I became interested in a modern architecture that made connections to place, history and ­nature. Modern architecture needed to be part of an evolutionary, not a ­revolutionary, process."

The infamous Louvre pyramid

Pei went from strength to strength with commissions for Washington's National Gallery of Art and the John F Kennedy Memorial Library in Boston. The former exhibits the powerful, elemental forms that characterise his mature work; the mere fact of being commissioned for the latter shows Pei's standing in his adopted country. His most charismatic work, though, was commissioned far from America. Twenty years ago, Pei unveiled two of his finest buildings: the Bank of China Tower in Hong Kong, and the underground lobbies of the Louvre in Paris capped with his famous (some might say infamous) pyramid.

The tower is one of the most exciting and elegant of all recent skyscrapers. Intended as a symbol of the new, ultra-capitalist People's Republic, the building was a special one for the architect. His father had worked for the Bank of China long before it was taken into state control, while Pei, educated by Christian missionaries at Shanghai's St John's Middle School, had long sided with Chinese ­nationalists rather than Mao's communists. Shortly before the opening of the tower, Pei wrote a powerful editorial for the New York Times condemning the ­Tiananmen Square massacre of 1989, which he saw as a sign that the image China wanted to project to the world – partly through his cool, modern tower – was ­drastically out of step with the reality of life for the country's people.

Yet the tower, with its beautifully expressed, zig-zagging steel frame, rises out of the density of Hong Kong with a confidence and ­elegance that places it above the brutal nature of ­politics. It was the island's tallest building when it opened in 1990, and it still ranks among the finest ­additions to the city, a ­majestic peak in an urban mountain range.

The Louvre pyramid stirred even deeper emotions, and huge ­controversy. Commissioned as one of President ­Mitterrand's grands projets in 1985, this ingenious structure – at once ethereal and crystalline, ancient and ­modern – has slowly won over most of its ­detractors. The tip of an architectural iceberg, it forms the entrance to the cavernous Pei-designed lobbies below. "I hoped the controversy would die down quickly," says Pei. "Perhaps I was a little optimistic. But, you know, the choice of the pyramid was not some personal idiosyncrasy. Paris is a city of pyramids, from the time when ­Napoleon [after whom the court the pyramid rises from is named] became fascinated by Egyptian architecture, after his military campaign along the Nile." What's more, the Cour ­Napoleon is the urban equivalent of a desert plain. Pei's pyramid rises from it as purposefully and fittingly as its massive stone predecessors do from the sands of Giza.

Today, steering well away from ­controversy, Pei is working quietly on a Shinto temple in Kyoto, close to the extraordinary Miho Museum, which sits half-buried in the rugged, misty landscape of the Shiga mountains. "It will be a fusion of ancient feeling and contemporary design," he says. "You know, the first decent ­building I did with my own practice was a chapel in Taiwan." This was the Luce Memorial Chapel. Designed in 1954 and ­completed nine years later, it's a ­stunning, tent-like concrete structure with overlapping roofs that look like stylised leaves falling from the canopy of some sacred grove.

"I think I must be coming full ­circle," says Pei. Perhaps he is. From a Christian chapel in Taiwan to a Shinto temple in Japan, via some of the most impressive and – albeit unintentionally – ­controversial buildings of the past 50 years, Pei, the most ­unpolemical of men, has met the ­challenges of ­architecture at all levels. Somehow, though, I think he would still like to design a garden ­studded with modern ­pavilions that would ­complement (he is not ­interested in rivalling or ­bettering) the place that has so ­inspired him, the Taoist Lion Grove Garden in Suzhou, with its ­poetically named buildings: the ­Standing-in-the-Snow Hall, Faint ­Fragrance Dim Shadow Tower and True Delight ­Pavilion. He acknowledges this by simply saying: "In ­another life, I might be a gardener. How wonderful it must be to design such gardens."

Pei says his toughest ever ­commission was the Museum of ­Islamic Art in ­Qatar, which opened in 2008. How could he distil ­centuries of Islamic ­design into one building? He found the answer when he visited the serene, ninth-century mosque of Ahmad ibn Tulun in Cairo. Its ancient elemental forms, and its ­precise use of shadows thrown by the baking sun, found a new life in Pei's hard-edged, geometrically bold ­museum, set on an artificial island 60 metres off the Doha waterfront.

Pei, after all, is a great believer in continuity. Married for nearly 70 years, he has four children, two of them ­architects. As we talk, he displays a huge ­admiration for the ­longevity of his ­fellow royal gold medal ­winner, Oscar Niemeyer, the ­Brazilian designer of ­cities the world over. ­"Oscar is still a radical," he says. "He's still at work, every day, at the age of 102. Wow! ­Perhaps I'm not so ­ancient after all."


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , , ,

Chile’s earthquake was horrible – but it could have been so much worse

March 1st, 2010

Chile is one of South America's richest, best-organised countries and many of its homes and offices were built to be earthquake resistant

Chile's earthquake was many times more powerful than the one that devastated Haiti earlier this year but caused only a small fraction of the casualties, thanks to geological luck and the country's preparation for such a disaster.

Saturday's 8.8-magnitude quake was a "megathrust" which unleashed about 50 gigatons of energy, but it was centered offshore and about 21 miles underground, dissipating its force by the time it reached towns and cities.

In contrast, the 7-magnitude quake that struck Port-au-Prince on January 12 was much shallower – about eight miles deep – and right on the edge of a city where 3 million people lived.

Eight Haitian towns and cities suffered "violent" to "extreme" shaking, whereas Chilean urban areas did not suffer more than "severe" shaking: still horrible, but a let-off.

The other reason Chile was counting its dead in the hundreds rather than hundreds of thousand was that this is one of South America's richest, best-organised countries. It has long experience of dealing with earthquakes.

Seismic activity is common along its Andean ridge. In 1960 it suffered one of the strongest quakes on record. Saturday's was the third with a magnitude greater than 8.7.

Homes and offices are built to sway with seismic waves rather than resist them. "When you look at the architecture in Chile, you see buildings that have damage, but not the complete pancaking that you've got in Haiti," said Cameron Sinclair, executive director of Architecture for Humanity.

Sinclair said Chilean architects have built thousands of low-income houses to be earthquake resistant. It is required by blueprints and building codes.

Chileans may still ask themselves if they did enough to prepare. In Concepcion, one of the hardest hit places, many houses made of adobe crumbled, as did a recent 15-storey apartment block. The university caught fire and gas and power lines snapped. Many streets were littered with rubble and, just as in Port-au-Prince, inmates escaped from a damaged prison.

In Santiago, the capital, large sections of the renovated airport's roof caved in. About 1.5 million Chileans were affected and 500,000 homes severely damaged. In some places rescuers complained of lack of fuel for equipment.

Even with damage estimated at $15bn-$30bn (£9.8-19.6bn), and airports, motorways and bridges shut, the state responded swiftly. "The fact that the president [Michelle Bachelet] was out giving minute-to-minute reports a few hours after the quake in the middle of the night gives you an indication of their disaster response," said Sinclair.


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , , , ,

Roger Ebert: Farewell to my London home

February 26th, 2010

Legendary film critic Roger Ebert reminisces about the eccentric hotel on Jermyn Street that for 25 years was his sanctuary – but now faces demolition

Oh, no. No. No. This ­cannot be. They're ­tearing down 22 Jermyn Street in London. Much of the block is going. Bates hat shop, Trumper the barber, Sergios cafe, all vanishing. Jermyn Street was my street in ­London. My neighbourhood.

There, on a corner near the Lower Regent Street end, I found a time capsule within which the ­eccentricity and charm of an earlier time was still preserved. It was called the ­Eyrie ­Mansion. When I stayed there, I ­considered myself to be living there. I always wanted to live in London, and this was the closest I ever got.

Many years ago I was in London and unhappily staying in a hotel room so small, they had to store my empty ­luggage elsewhere on the premises. I could sit on the bed and rest my ­forehead against the wall opposite. Fed up, I walked out one fine Sunday ­morning to find a better hotel, but not an expensive one. I recalled that ­Suzanne Craig, a Chicago friend of mine, had once informed me: "If you like London so much, you should stay at the Eyrie Mansion in Jermyn Street."

"A haunted house?"

"No, stupid. Spelled like an eagle's nest. And Jermyn isn't spelled like the country, either."

I took the tube from Russell Square to Piccadilly, and surfaced to find backpackers sprawled on the steps of Eros, still asleep after their Saturday night revels. One block down Regent and right on Jermyn and I found a small sign over the sidewalk above a ­doorway. It opened upon a marble corridor pointing me to a man who regarded me from eyes in a scarred face. The gatekeeper of the Eyrie. He disappeared and, when I drew abreast, he was behind a wooden counter protecting an old-fashioned switchboard, a thick registration ledger and a wall of pigeonholes.

"How may I help you, sir?"

"Is this . . . a hotel?"

"Since 1685, I believe. You ­require a room?" He had a ­Spanish accent.

"I'd . . . how much are your rates?"

He consulted a card tacked to the wall.

"For you, sir, £35. That includes full English breakfast, parlour and ­bedroom, own gas fire and maid. Bath en suite."

The rate was a third of what I was paying. I asked to be shown these quarters. He locked the street door. Then we ascended in an open ironwork elevator to an upper floor and I was let into 3A. A living room had tall old ­windows overlooking Jermyn Street. Dark antique furniture: a sideboard, a desk, a chest of drawers, a sofa facing the fireplace, two low easy chairs, tall mirrors above the fire and the sideboard. He used a wooden match to light the gas under artificial logs.

A hall led to a bedroom in which space had been found for two single beds, a bedside table between them, an armoire, a chest, a small vanity table and another gas fireplace. In the bathroom was enthroned the largest bathtub I had ever seen, even in the movies. The fixtures were not modern; the toilet had an overhead tank with a pull-chain.

"This is larger than I expected," I said. "How many rooms do you have in all?"

"Sixteen."

Of course I took it. When I'd moved my luggage in, it was still only 10 o'clock and I rang down for the full English breakfast. The Spaniard said he would prepare it himself as soon as possible, "because Bob is indisposed". He appeared with two fried eggs, a rasher of bacon, orange juice, four slices of toast in an upright warmer, butter, strawberry jam and a pot of tea. I sat at my table, regarded my fire, poured my tea, turned on Radio 3 and read my Sunday Telegraph.

For 25 years I was to come to Jermyn Street time and again. Now I can never ­return. Some obscene ­architectural extrusion will rise upon the sacred land, some eyesore of retail and condos and trendy dining. Piece by piece, this is how a city dies. How many cities can spare a hotel built in 1685, the year James II took the crown? I will barely be able to bring myself to return to ­Jermyn Street, which is, shop for shop, the finest street in London.

That first morning I walked down Regent Street to St James's Park, strolled around the ponds, came up by Prince Charles's residence, climbed St James's Street and returned the full length of Jermyn. I ordered tea. It consisted of tomato, cucumber and butter sandwiches, which the English are unreasonably fond of; ham and butter sandwiches, which I am unreasonably fond of with Colman's English mustard; and cookies – or, excuse me, biscuits.

I had just settled in my easy chair when a key turned in the lock and a nattily dressed man in his 60s let himself in. He held a bottle of Teacher's scotch under his arm. He walked to the sideboard, took a glass, poured a shot, and while filling it with soda from the siphon, asked me, "Fancy a spot?"

"I'm afraid I don't drink," I said.

"Oh, my."

This man sat on my sofa, lit a ­cigarette, and said: "I'm Henry."

"Am I . . . in your room?"

"Oh, no, no, old boy! I'm only the owner. I dropped in to say hello."

This was Henry Togna Sr. He ­appears in a Dickens novel I haven't yet read. I'm sure of it. He appeared in my room almost every afternoon when I stayed at the Eyrie Mansion. It was not difficult to learn his story.

Henry and his wife Doddy lived in the top-floor flat. He may have been the only man to live all of his life within a block of Piccadilly Circus. The Mansion was originally purchased in 1915 by his parents, who came from Italy, and Doddy's parents, who were English. The two children grew up ­together, married, and fathered Henry Jr, "who keeps his irons in a lot of fires". He asked me how I learned of the Eyrie Mansion. "Oh, yes! Suzanne. A lovely girl."

I was usually in London three times a year: in midwinter, in May after Cannes, and in summer. Henry was naturally confiding, and cheerfully indiscreet. That first day he lamented that his assistant, Bob, had gone ­missing when I wanted my breakfast. "Bob is a great trouble to me," he said. "He gets drunk every eighth day. I have implored him to make out a seven-day schedule and stick to it, but no. He will not be content unless he is throwing us off."

"I was well taken care of by the man who checked me in," I said.

"Poor fellow. He was a famous jockey in Spain. His face was burned in a stable fire while he tried to help his horses. He was one of those handsome Spanish boys. He was in a movie once by Buñuel. A film critic like yourself must have heard of him."

"Oh, I have," I said. "I wonder which film?"

"You'll never get that out of him," Henry said. "Nor will he tell you his real name. He says he's hiding out here, working overnights. He doesn't want anyone in Spain to learn where he's gone."

I thought of Jermyn Street as ­Ampersand Street. On Jermyn Street you will find Turnbull & ­Asser, where Saul Bellow bought his shirts and Gene Siskel bought his boxer shorts. You will find ­Paxton & Whitfield, with its window stacked high with cheeses, and Fortnum & Mason, where you can lunch at the soda fountain or plunge into the food hall. Down the street a bit are Sims, Reed & Fogg, the antiquarian booksellers. And, of course, Hilditch & Key, Harvie & Hudson, Crockett & Jones, New & Lingwood – all shirt-sellers. The street is synonymous with shirts.

Next door to the hotel, there is Bates the hatters, with a big top hat hanging over the sidewalk. This was one place where you knew for sure you could find a bowler, a deerstalker or a ­collapsible opera topper. They have had the same cat for 50 years (although it has been stuffed and with a cigar in its mouth for most of that time). Next to Bates, Trumper the men's ­hairdressers. I make it a practice to get my hair cut in every city where possible. Near the Eyrie I went first to ­Georgio's, a one-chair Greek barber shop in a mews off Duke Street. One day I ­followed the Archbishop of ­Canterbury into his chair. In the basement of Simpsons, I had my hair cut next to the former prime minister Edward Heath. Jermyn is that kind of street. Finally I graduated to Trumper, a magnificent shop of brass and leather, wood and mirrors, and the aroma of hair tonics with exotic spices.

Sometimes in walking about the area, I would happen upon Henry, always dressed to befit Jermyn Street, who knew everyone of any interest, from the maitre d' at Wiltons to the man with the Evening Standard stand behind St James's Piccadilly. I never saw Henry in a pub, however, and ­despite the bottle of Teacher's under his arm, I never saw him tipsy.

One day he invited me to lunch. We walked over to a cozy, chic French restaurant in a byway near Leicester Square. Customers waiting in line were ignored as we were seated immediately. We were shown to our banquette by a handsome French woman of a certain age, whose hand, I observed, lingered longer on his shoulder than one might have expected. Henry saw me noticing, and his eyes twinkled.

He was much concerned about the future of the Mansion. "Our landlady is the Queen," he told me. "The Crown Estate agents have always tried to keep the lease terms reasonable, but the price of property is making the most alarming advances. I've raised my prices as much as I dare. Henry Jr wants to take over and make this a ­luxury hotel. Well, it's in the blood. But it frightens me. What kinds of loans will he have to take out? How will he make the payments?"

He brought Henry Jr around to meet me. This was a handsome, pleasant man; friendly, confiding. He said he hoped to keep the charm of the Eyrie Mansion. "But at the prices I'll be forced to charge, the public won't stand for this," he said, regarding the carpets, frayed at the edges, and the furniture somewhat nicked, and staring balefully at the gas fireplace.

As it happened, the gas fire was one of my favorite features. On jet-lagged winter mornings, before dawn, I'd awaken to a flat chilly as I liked it, pull on warm clothes, and venture out into the crisp night to walk up to the newsagent on Piccadilly. I'd buy the Telegraph, Independent, Guardian and Times, and a large cup of hot coffee from an all-night shop around the corner. With these I would return to the Mansion, tune in Radio 3, sit in my low easy chair before the fire, and dream wistfully that such was my life.

Later one winter's day, I set out to walk across Hyde Park from Kensington Gardens to Hyde Park Corner. It was raining, but that was fine with me; I had my Simpsons umbrella. What I didn't know was that the gates to the park were locked at dusk. This I discovered on a notice inside the gate I'd intended to use. I could see the traffic hurrying past up Serpentine Road from the direction of the Royal Albert ­Memorial. There were a lot of taxis.

Unfortunately, an iron fence topped with spikes stood between me and the road. It began raining harder. I scouted and found a low tree branch that might just allow me to stand atop the railing. That meant climbing a hill slippery with wet grass. I failed twice, and became smeared with mud. Digging in the point of my umbrella, I finally made my way up the hill and on to the limb, then balanced on the fence – but it was a good leap down to the ­sidewalk, and I could easily imagine myself with a sprained ankle. Or worse: impaled on the fence.

Pedestrians hurried past, apparently not seeing me. I tried calling for help. I was ignored. Well, if you were hurrying through the park in the rain and saw a fat man with a soaked coat, smeared with mud, balanced on a fence with a filthy umbrella, what would you do?

"Hey, look, it's Roger Ebert!" an American kid said. He was with a group of friends. "No way! Is that really you?"

"Yes, it is," I said. If I had been Prince Charles, I would have answered to "Roger Ebert".

"Far out, dude! What are you doing up there?"

"Trying to get down," I observed.

They helped me down and asked for my autograph, which was gladly ­supplied. I opened my umbrella, hailed a cab, and was at 22 Jermyn Street in 10 minutes. That was one of the occasions when I lit the gas fire and treasured it beyond all reason. After warming up, I filled the big tub for a bath. It was deep, and as long as I was tall. I tinted it a bright green with Wibergs Pine Bath Essence, inhaled warm pine, and reflected that you are never warmer than when you have been cold.

Word came in 1990 that Henry Jr had taken over operations and closed the hotel for ­renovation. In his announcement, he wrote: "I agreed to buy the hotel from my father, famous for his wonderful eccentricity." Of course, Henry Jr discontinued the gas fires.

The Eyrie Mansion was renamed 22 Jermyn Street, and my wife Chaz and I stayed there many times. I liked it, she adored it. When I said I missed the gas fire that you lit with a match, she gave me one of those looks I got when I said I would rather drive a 1957 Studebaker than any newer car. Or eat in a diner than a trendy restaurant. Or wear jeans. You know those looks.

As the luxurious 22 Jermyn Street, the hotel prospered. Croissants and cappuccino were now served as an alternative to full English breakfast. There'd be a flower on the tray. Clients included movie stars and politicians, who valued its privacy and its absence of a lobby. Doddy and Henry Sr would have been proud.

But in autumn 2009 Henry Jr wrote to us: "Sadly the lease has expired and the greater part of the city block in which the hotel is located is to be redeveloped by the Crown Estate as a project named St James's Gateway, over the next two or three years. Like much else in London, it is planned that this very comprehensive and handsome project will be completed in time for the Olympic Games in 2012."

Just what Olympic guests will be looking for in London. One more god-damned comprehensive and handsome project.

© 2010 The Ebert Co. distributed by Universal Uclick.This is an edited extract from Roger Ebert's blog, rogerebert.com

• This article was amended on 26 February 2010. The first paragraph originally read, "the whole block is going", including Getti the Italian restaurant and the Jermyn Street theatre. This has been corrected. Elsewhere in the piece Russell & Bromley was removed from a list of shirtmakers.


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , , , , , ,

New US embassy is cool, remote and far from subtle

February 25th, 2010

The winning design by KieranTimberlake architects reflects the US political process: nominally open to all, yet, in practice, tightly controlled

The new US embassy to the Court of St James's has been designed, says the US state department, to "reflect the values of the American people". Just as well, perhaps, that its architects, KieranTimberlake, aren't being asked to reflect the values of the British people, otherwise we'd probably end up with a building in the guise of a footballer-style Kentucky Fried Georgian luxury mansion with a Cabe-approved Tesco attached and the whole caboodle opened by Justin Timberlake.

Luckily for London, the American people are considerably more sophisticated and less populist than we are. Here in Nine Elms, the new embassy will adopt the form of a giant glass box on stilts rising from a Princess Diana-style memorial park, complete with a lake and what appears to be a ha-ha. Seriously.

KieranTimberlake have a well-established track record designing nicely resolved college campuses, including those of Yale and Cornell. Given that the London embassy will be a cross between a secure compound and a political and cultural complex, the Philadelphia practice may well prove to be a sound, if unexciting, choice.

Keen for the building not to be seen as a Bush-era bunker – the vast new US embassy in Baghdad is about as diplomatic as a "shock 'n' awe" strike by the military – the design makes extensive use of glass, although this will be protected by a blast-resistant polymer skin.

Cool, remote and superficially transparent, the winning design does reflect what we can divine of the US political process. Nominally open to all and yet, in practice, tightly controlled, the system of US government and its prevailing culture, aped bad-temperedly in Britain, does indeed inform the brief to KieranTimberlake and their response to it.

Embassies have, however, for good reasons, become an awkward building type today. The days of pottering about in the fine library of the Eero Saarinen-designed US embassy in Grosvenor Square are long gone. All foreigners are suspect. They should keep their distance in future just as this defensive embassy, surrounded by corporate-style office blocks, will from them and, sadly, central London itself.


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , , , ,

In praise of… Battersea | Editorial

February 25th, 2010

Battersea, which is to play host to the new US embassy, is already famous for many things

There is room for divided views about the Kieran Timberlake glass cube design for the new US embassy building in London. There is less room for argument about its site. Battersea is famous for many things – the dogs' home, the funfair and the power station among them – but its riverside proximity to central London remained a well-kept secret until 1980s house-hunters realised it is only 200 yards from Chelsea across the river. Battersea's MP, Martin Linton (a former Guardian journalist), says if he stands on the House of Commons terrace and leans out a bit he can see the top end of his constituency where the embassy will one day be. The MP bridles at the notion, promoted by the late George Melly, that "transpontine London" has nothing to offer its new residents. South London is simply a north London concept, Mr Linton retorts. The new embassy in Nine Elms, he reckons, will be closer to Westminster and Whitehall than the existing one in Grosvenor Square. Washington's choice is interesting in other ways too. It will be built close to an area once known as the Island, a small enclave of Victorian slum terraces that once housed one of the most economically deprived communities in the capital, one reason why Battersea is one of a handful of places in Britain to have ever elected a Communist to parliament. And can the state department have been aware that Battersea is the last resting place of their nation's revolutionary war turncoat, Benedict Arnold, who is buried in Battersea parish church?


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , ,

US Ambassador is spoiling our view of the Thames with this boring glass embassy

February 24th, 2010

British jurors, including Richard Rogers, have argued the building is unfit to represent the US in Britain

With a billion dollar budget and a prime site on the banks of the Thames, the plans for the new US embassy in Britain were intended to cement Washington's "special relationship" with London for decades to come.

But tonight's long-awaited unveiling of designs by US ambassador Louis Susman for one of the most expensive embassies ever built threatened to be overshadowed by a high-level spat.

The Guardian has learned that the only two British members of the seven-strong design jury "fought to the death" against their American counterparts in a failed bid to block a winning design which they argued was not world class and was unfit to represent the US in Britain. Lord Rogers, the architect of the Pompidou Centre in Paris, and Lord Palumbo, the property developer and art collector, felt so strongly about the inadequacies of the winning design, they submitted a "minority report" setting out their case to the US state department in Washington, which commissioned the building.

As Susman unveiled the designs of the Philidephia-based firm of Kieran Timberlake – a 12-storey cube clad in a blastproof glass and plastic façade – it emerged the British jurors believe the Obama administration should have selected a rival design by a Californian designer, Thom Mayne, who won the Pritzker Prize, architecture's version of the Nobel, in 2005. They were overruled by the five Americans on the panel, including former ambassador Clyde Taylor.

Rogers and Palumbo are said to have thought the design was boring and "not good enough to represent one of the great nations in London", said sources familiar with the jury process. By contrast, they considered Mayne's design to be "touched by genius".

After the spat with two of the most prominent figures in British architecture, and both peers, a second diplomatic banana skin looms: the US government has yet to agree with HM Treasury about whether it will pay VAT on the building cost and the $1bn (£650m) price quoted yesterday did not include VAT. Susman said last night talks are continuing.

The embassy is set to become one of the most expensive in the world, cheaper only than America's fortress-like outposts in Baghdad and Islamabad.

In 2008 Washington announced a move out of the Mayfair building occupied since the beginning of the Kennedy era for security reasons. Attempts to fortify the building in such a built-up location proved difficult and the embassy's 1,000 staff had begun to outgrow the space.

But the decision to move to a new home on a vacant semi-industrial site in Wandsworth surrounded by a 30-metre blast zone, sparked fears that it planned a "fortress embassy" in south London. The UK government's own design advisers worried that early designs suggested a building that "turns its back" on the local area and lacks "a sufficiently civilising effect".

The designs unveiled yesterday suggest a medieval keep and even include a moat-like ditch along one side. James Timberlake, the lead architect, said that, inspired by European castles, he had tried to use the landscape to provide a defence against terror attacks and there would be "no fences and no walls".

"We hope the message everyone will see is that it is open and welcoming," he said. "It is a beacon of democracy – light filled and light emitting."

KieranTimberlake, little known outside the UK, was a surprise winner against three of America's most celebrated architects, all of whom have won the Pritzker.

Alongside Mayne were the firm of IM Pei, who designed the Louvre pyramid in Paris, and Richard Meier, who built the Getty Centre in Los Angeles. KieranTimberlake is best known for its buildings for Ivy League universities and environmentally-friendly design.

Contacted last night, Rogers declined to comment on his view of the building. "It was a very well-organised competition and I can't comment on the decision of the jury," he said. Palumbo could not be reached for comment.

Questioned about the row, Susman said simply: "The entire committee signed off on the project."

Paul Finch, the chairman of the Commission for Architecture and the Built Environment, which will advise on whether the building should be granted planning consent, said the designs appeared to be of a high quality.

"It is a sophisticated cube," he said. "The designers have given a lot of attention to the environmental controls. This will stand out in an area that is due for a huge wave of development."

The plans feature an attempt to integrate defences in a park landscape using grass berms, a man-made lake and even a moat. The most iconic part of the Mayfair building is likely to remain. There are plans to relocate the bronze eagle which sits on the roof of the current embassy as a statue in the gardens.

The Mayfair building is earmarked for development as luxury apartments and a hotel after it was bought for an estimated £350m by the Qatari government.

Expert view: Cool, remote and far from subtle

The new US embassy to the Court of St James's has been designed, says the US state department, to "reflect the values of the American people". Just as well, perhaps, that its architects, KieranTimberlake, aren't being asked to reflect the values of the British people, otherwise we'd probably end up with a building in the guise of a footballer-style Kentucky Fried Georgian luxury mansion with a Cabe-approved Tesco attached and the whole caboodle opened by Justin Timberlake.

Luckily for London, the American people are considerably more sophisticated and less populist than we are. Here in Nine Elms, the new embassy will adopt the form of a giant glass box on stilts rising from a Princess Diana-style memorial park, complete with a lake and what appears to be a ha-ha. Seriously.

KieranTimberlake have a well-established track record designing nicely resolved college campuses, including those of Yale and Cornell. Given that the London embassy will be a cross between a secure compound and a political and cultural complex, the Philadelphia practice may well prove to be a sound, if unexciting, choice.

Keen for the building not to be seen as a Bush-era bunker – the vast new US embassy in Baghdad is about as diplomatic as a "shock 'n' awe" strike by the military – the design makes extensive use of glass, although this will be protected by a blast-resistant polymer skin.

Cool, remote and superficially transparent, the winning design does reflect what we can divine of the US political process. Nominally open to all and yet, in practice, tightly controlled, the system of US government and its prevailing culture, aped bad-temperedly in Britain, does indeed inform the brief to KieranTimberlake and their response to it.

Embassies have, however, for good reasons, become an awkward building type today. The days of pottering about in the fine library of the Eero Saarinen-designed US embassy in Grosvenor Square are long gone. All foreigners are suspect. They should keep their distance in future just as this defensive embassy, surrounded by corporate-style office blocks, will from them and, sadly, central London itself.

Jonathan Glancey


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , , , , ,

Horace Walpole and Strawberry Hill

February 20th, 2010

It was the most famous house in Georgian England, but for some it was a sham and an architectural failure. Amanda Vickery considers its eccentric creator Horace Walpole

If you are an aficionado of architecture, you will know Horace Walpole as the creator of Strawberry Hill (1747-90), in Twickenham, west London, a flamboyant experiment in Gothic revival, forerunner of all those Victorian town halls, churches and stations which define our townscapes. You may also remember him as the author of The Castle of Otranto (1764), the first gothic novel, initiating a spooky literary genre still going strong.

Connoisseurs of Georgian culture recognise the voluble Walpole as a catty commentator on fashionable society. With 48 volumes of his correspondence in print, historians can rely on him for a gossipy opinion on most topics from adultery and chandeliers to wigs and Whigs. Hardly a party was thrown without Walpole on the sidelines taking sly notes for the amusement of posterity.

A new exhibition at the Victoria & Albert museum in London throws the spotlight on the peripheral observer and showcases the peculiarity of his taste. It restages Walpole's eclectic ­collection and evokes the dense ­interiors of his summer retreat, Strawberry Hill, as a curtain raiser for the reopening this autumn of the freshly restored house itself.

According to Michael Snodin, ­curator of the exhibition, Walpole "as a lively and incisive commentator shaped the way we see 18th-century politics and society. As the most ­important collector of his time he created a form of thematised historical display which prefigured modern ­museums. And Strawberry Hill was the most influential building of the early Gothic revival."

Walpole (1717-97) was the youngest son of Sir Robert Walpole, the first prime minister, and Catherine Shorter, daughter of a timber merchant. His parents were estranged even before his birth, the young Walpole remaining with his adored mother in the London house on Arlington Street in Piccadilly, avoiding Houghton – the Norfolk palace raised by his father as a monument to power.

After a conventional education (Eton and Cambridge topped off with the grand tour), Walpole became MP for Callington in 1743, where he never set foot. Effete and feeble, he bore little resemblance to his hearty father. Still he remained loyal to Whig politics and accepted sinecures worth £2,000 a year, bankrolling his "career" as a connoisseur and gentleman of leisure.

To us, Walpole appears decidedly peculiar – etiolated, fastidious and affected – and even in his own times he was considered singular. The writer Letitia Hawkins remembered a pallid aesthete tripping everywhere on his toes. "His figure was not merely tall, but more properly long and slender to excess: his complexion and particularly his hands of a most unhealthy paleness . . . he always entered a room in that style of affected delicacy, which fashion had then made almost natural . . . knees bent and feet on tip toe as if afraid of a wet floor."

Though Walpole had a penchant for the company of old ladies and un­marriageable or disgraced noblewomen, he evaded matrimony, remaining to his death aged 79 what used to be called a confirmed bachelor. Instead he drew about him a collection of highly cultured "dear friends"– men of sensitive taste but lesser background, who shared his obsessions. Walpole had an especially fraught and jealous relationship with Thomas Gray, of the famous "Elegy Written in a Country Churchyard", whom he met at Eton and took with him on his European tour.

Was Walpole gay? Is Strawberry Hill the manifestation of a gay aesthetic? The questions linger, even though searching for something akin to a ­modern homosexual identity is fruitless. Homosexual acts were criminal – sodomy was a capital offence – but virile men were known to take lovers of both sexes, while effeminate manners were seen as a Frenchified heterosexual weakness.

Walpole's biographers have often considered him effeminate and asexual, or at most passively homosexual. George Haggerty ponders the mystery again in the collection of essays that accompanies the exhibition. Walpole and his close male friends "did not identify themselves and were not identified by their contemporaries as sodomites, although several of them were known to feel desire for members of their own sex". Walpole's life-long correspondent, the Florentine expatriate Sir Horace Mann, was labelled a "finger-twirler" by the diarist and social commentator Hester Lynch Piozzi.

A romantic and erotic camaraderie is detectable among the aesthetes, archly expressed in interior decoration and antiquarianism. Anachronistically, but plausibly, Haggerty sees a camp sensibility at work. Strawberry Hill was to be the playground of affectation, a stage set on which Walpole performed his life, and an irresistible resort for his special friends.

Strawberry Hill was in fashionable Twickenham, a two-hour carriage drive from London, but enjoying some rays of royal glamour from nearby Richmond Palace and Hampton Court. The bosky Thameside bristled with the stately dowagers Walpole so admired, while the illustrious poet Alexander Pope had lived less than a mile away.

In 1747, Walpole leased a nondescript suburban house (built 1698) from Mrs Chevenix, a famous seller of trinkets. "It is a little plaything that I got out of Mrs Chevenix's shop and is the prettiest bauble you ever saw." In modern terms, the house is palatial, but by the standards of Georgian magnificence it was dinky.

"Lord God! Jesus! What a house!" cried Lady Townsend on an early visit. "It is just such a house as the parson's where the children lie at the end of the bed." As the second home of a fashionable gentleman who had a thoroughly classical headquarters in London, it was free from the rules governing the design of houses in town. Walpole set about Gothicising and extending, transforming the villa into "a gingerbread castle", "a Gothic mousetrap", a "paper house". He likened his adventure to that of Lord Burlington's pioneering of the neo-­Palladian in miniature at nearby Chiswick House: "As my castle is so diminutive, I give myself a Burlington air and say that as Chiswick is a model of Grecian ­architecture, Strawberry Hill is to be so of Gothic."

Walpole dated his interest in the Gothic from seeing King's College chapel as an undergraduate at Cambridge, constructed when "Art and Palladio had not reached the land nor methodised the Vandal builder's hand". He was hardly the first to pursue an antiquarian interest in British history or to admire the melancholy dignity of old cathedrals. The Gothic was seen as one decorative idiom among several, suited to informal rooms and garden structures. There was already a pseudo-Gothic summer house in Vauxhall pleasure gardens.

Plenty of nobles lived in crumbling houses, finding romance in heraldry and ancestry, old tapestry and stained glass. Gothic was a ready decorative choice for private chapels, especially for Catholics anxious to assert the continuity of the old religion. It also appealed to women with a strong sense of dynasty. The widow Lady Oxford began a fan-vaulted dining room at Welbeck Abbey in 1742, while Lady Pomfret built a castle-style house on Arlington Street in London (Walpole's own road) in the late 1750s.

Pretentious as he was, Walpole did not claim to have revived the medieval single-handed. He wrote to Mann in Italy for "any fragments of old painted glass, arms or anything", reassuring him of "the liberty of taste into which we are all struck". With papier-mâché friezes, Gothic-themed wallpaper, fireplaces copied from medieval tombs, a Holbein chamber evoking the court of Henry VIII, Dutch blue and white tiles on the floor, and modern oil paintings, china and carpets throughout, Strawberry Hill was hardly a faithful recreation of a medieval manor. Walpole wanted theatrical effect, atmosphere and "gloomth", not a time capsule. ­"Visions you know have always been my pasture . . . Old castles, old pictures, old histories and the babble of old ­people make one live back into centuries that cannot disappoint one."

The Gothic era he plundered seemed to encompass all the centuries before Inigo Jones (who transplanted the principles of Italian renaissance architecture under the patronage of Charles I). Any period from the dark ages to the Jacobean was ripe for plagiarism.

He made no doctrinaire claims. "I do not mean to defend by argument a small capricious house. It was built to please my own taste, and in some degree to please my own visions." Ever delicate, he admitted, "In Truth I do not mean to make my house so Gothic as to exclude convenience and modern refinements in luxury."

Teased by Mann as to whether the garden had to be medieval to match, he ruled "Gothic is merely architecture and as one has a satisfaction in imprinting the gloomth of abbeys and cathedrals on one's house, so one's garden on the contrary is to be­ ­nothing but riant [cheerful] and the gaiety of nature." But the garden still had to be picturesque. After a lecture on the ideal effect of the trees, the local ­nurseryman sighed: "Yes sir, I understand, you would have them hang down ­poetical."

Strawberry Hill was a confection, a mock-castle of a fake dynasty complete with a reproduction baronial hall, flourishing the arms and images of putative crusader ancestors on the ceiling. Through his mother, Walpole claimed descent from Cadwallader of Wales. The house became a museum to Walpole's expanding collection of art and relics, such as Queen Bertha's comb and the hair of Mary Tudor in a locket, though he was "outbid for ­Oliver Cromwell's night cap".

Snodin insists on Walpole's originality as a collector. He merged two pre-existing but distinct traditions – that of the virtuoso connoisseur seduced by art of all sorts, but also the antiquarian fascinated by historically significant objects (such as the spur King William drove into the flank of his horse Sorrel at the Battle of the Boyne). By 1797, Walpole had amassed at least 4,000 objects, not including scores of prints, drawings and books. The only things Walpole didn't collect were natural specimens and scientific instruments.

The diversity of Walpole's museum is recreated in the V&A exhibition, from 16th-century miniatures and sumptuous Reynolds portraits to Cardinal Wolsey's red hat. Which are Snodin's favourites? "For sheer glamour it has to be the gilded armour of Francis I, but one of the most curious objects is the black obsidian mirror used by the Elizabethan necromancer Dr John Dee to call up spirits, though Walpole didn't realise that it was originally used by the Aztecs in the human sacrificial rituals of their 'god of the smoking mirror'. We are still looking for some of Walpole's most famous objects, such as the jewelled dagger of Henry VIII."

Walpole wanted his objects to be ­admired. He gave personal tours to posh visitors, but left his housekeeper to herd the hoi polloi, for a guinea a tour. "'Tis the most amusing house I was ever in," remarked Lady Mary Coke, "so many pictures and things to help one to ideas when one wants a fresh collection; entertainment without company."

Walpole even produced a guidebook on his own printing press to initiate the cognoscenti, though inevitably he tired of traffic. "I keep an inn, the sign the Gothic castle," he moaned. "Never build yourself a house between London and Hampton Court. Everyone will live in it but you."

He introduced an advance booking system: "Every ticket will admit the Company between the hours of 12 and 3 before dinner. The house will never be shown after dinner nor at all but from the first of May to the first of ­October." And a final proviso: "They who have tickets are desired not to bring children."

Walpole was aggrieved to discover that visitors love to touch. "Two ­companies have been to see my house last week and one of the parties, as vulgar people always see with the ends of their fingers, had broken the end of my invaluable eagle's bill, and to ­conceal their mischief, had pocketed the piece."

At his death in 1797, the house passed to his cousin's unmarried daughter, Lady Anne Seymour Damer, a celebrated sculptor, and then to the Waldegraves, the family of his great niece. In 1842 the contents were sold off in the auction of the century, most never again seen together until now. (There was a small exhibition in 1980 with no international loans.)

Thanks to Walpole's publicity, Strawberry Hill was perhaps the most famous house in Georgian England, and inevitably fuelled voguish medievalism. But for Victorian purists such as Pugin, it was a sham. For modernists, it was an architectural failure of ghastly influence. BS Allen's Tides in Taste (1937) concluded that "reluctantly but inevitably one is reminded of the flocks of flimsy, starved houses that have sprung up since the war".

Wherever you stand on mock-Gothic, Strawberry Hill delivers un­rivalled access to both ideas and design. It is an exceptionally rich document – so rarely do original house, perspective views, objects, commentary and letters all survive.

For the architectural historian Charles Saumarez Smith, the house is important "not just as an oddity, much visited and admired, but because it was a presage of the way interiors would be used in the future, as a conscious instrument of personal expression, exploiting history to evoke a particular mood: Strawberry Hill was to become a private castle, an escape from time, a place of retreat."

Snodin agrees. "Walpole's cultural legacy was to pioneer a kind of imaginative self–expression in building, furnishing and collecting which still inspires us today. I suppose one of the take-home messages of the exhibition is: why not try it yourself?"

Horace Walpole's Strawberry Hill is at the Victoria & Albert Museum, London SW7 (020 7942 2000), from 6 March to 4 July. www.vam.ac.uk


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , ,