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    The ‘bijou’ or ‘dwarf’ houses of the Howard de Walden grid. Part 2: the inter-war period

    By the Survey of London, on 19 January 2018

    A previous blog post (24 November 2017) considered the smaller Victorian and Edwardian mews-corner houses that are such a distinctive feature of the east-west streets of the Howard de Walden Estate in Marylebone. Today we look at three exceptionally fine later examples of the genre, all designed for the Marylebone builders and developers Bovis Ltd by notable architects of the inter-war period – Sir Giles Gilbert Scott, G. Grey Wornum, and Burnet, Tait & Lorne.

    22 Weymouth Street – a house by Giles Gilbert Scott

    22 Weymouth Street (photographed by Chris Redgrave for the Survey of London, © Historic England)

    22 Weymouth Street is one of Marylebone’s jewels – a rare domestic work by Sir Giles Gilbert Scott, designed in the early 1930s when he was at the height of his powers and working also on Cambridge University Library and Battersea Power Station.

    The house was a speculation for Vincent Gluckstein, chairman of Bovis Ltd, who had been chasing the site since 1928, having recently rebuilt No. 26, a few doors along. Initially, the Howard de Walden Estate suggested two small residences as possible replacements for the double-fronted house that previously stood here. But Gluckstein eventually had his way and devoted the whole plot to just one, larger house, for which Scott was providing plans by 1933, assisted by his younger brother Adrian.

    Even so this was still a compact dwelling and as such was carefully planned by the Scotts. There was only a partial basement, occupied by a boiler room. The kitchen, pantry and maid’s room were placed at the rear of the ground floor, which otherwise was given over to a suite of reception rooms: a front library and drawing room either side of a central hall, and a rear dining room. Upstairs were bed and other family rooms, and servants’ accommodation was provided in an attic, lit by rear windows.

    Ground- and first-floor plans of 22 Weymouth Street in 1936 (redrawn by Helen Jones)

    In form the house is an updated version of the earlier mews corner houses hereabouts, being of two storeys only, though with a tiled mansard roof for the attic. Scott relied on high-quality brickwork and his immaculate sense of proportion for effect. The elevation has a classic, symmetrical simplicity, dominated by the broad, Georgian-style fenestration, with movement provided by the subtle interplay of rectangular forms – the ground-floor windows either side of the door break forward to make an entrance porch (apparently a late alteration to the design), above which the first-floor central windows are recessed as a sun balcony. The overall effect is very similar to the two-storey brick house that Scott had built for himself a decade earlier in Clarendon Place, Bayswater (known as Chester House). Inside No. 22 the feeling of modernity gave way to a more conventional ambience, with much timber panelling, particularly in the library, and the use throughout of antique carved marble or timber fireplaces.

    Scott’s exceptional ability to leaven his unpretentious brand of modern architecture with a strong dose of traditionalism eased relations with the Howard de Walden Estate, as did the fact that he and his brother shared an alma mater (Beaumont College) with their fellow Roman Catholic Colonel Blount, the estate surveyor. Thus he was spared the worst of the wearying interference from Blount that plagued his contemporaries G. Grey Wornum and Francis Lorne over the mews corner houses that they were also designing for Bovis. In the end, however, he lost his patience when Blount, a stickler for uniformity, persisted in criticizing the variegation of the bricks – the identical four-inch type that Scott had specified for Cambridge University Library, then also under construction, where they had been roundly praised. ‘It is quite impossible to obtain any coherent effect unless such questions are under one control’, Scott told Blount candidly.

    The house must have been close to completion by the end of 1934 when it featured in the architectural press but no acceptable buyer came forward when offered for sale in 1936. Vincent Gluckstein seems to have been using the property himself at that time. Its next occupant in 1938 was (Sir) Eric William Riches, a surgeon at the Middlesex Hospital. As Riches intended also to practice privately, the drawing room was partitioned for him to create a suite of consulting and examination rooms and secretary’s office. Riches was to remain at No. 22 until 1976, since when the partitions have been removed and the drawing room reinstated. Later residents included the multimillionaire Indian businessman G. K. Chanrai and his family in the 1980s and 90s.

    Proposals for radical change to the house in 2009, including the addition of another storey, led to its being listed at the request of the Twentieth Century Society.

    39 and 40 Devonshire Street – two houses by Burnet, Tait & Lorne

    39 and 40 Devonshire Street form a surprising pair of dwellings. The latter has an idiosyncratic neo-Georgian street front, with prominent window shutters and a steep pyramidal roof punctured at the eaves by dormer windows; whereas its partner, tucked away in the mews, is starkly modern in appearance. They were designed as a pair in the early 1930s for Vincent Gluckstein by Sir John Burnet, Tait & Lorne, with some input from the Howard de Walden estate surveyor, Colonel Blount.

    40 Devonshire Street, at the corner with Devonshire Close (photographed by Chris Redgrave for the Survey of London, © Historic England)

    39 Devonshire Street (photographed by Chris Redgrave for the Survey of London, © Historic England)

    By 1930 Gluckstein had decided to buy the old premises on this corner site, which included a mews pub, the Cape of Good Hope, intending to demolish all for new residences. Burnet, Tait & Lorne began planning in the summer of 1931 but financial concerns about the effects of the Depression on property obliged Gluckstein to proceed initially with only the mews house at No. 39. The dapper and worldly Francis Lorne, a recent addition to the practice after a lengthy residence in Canada and the USA, was the partner in charge. He, his American brother-in-law Ludovic Gordon Farquhar (who had worked for Raymond Hood) and their international team of assistants designed a relatively plain two-storey brick box with steel-framed windows. Lorne also dealt effectively with Blount’s disquiet and requests for a more traditional type of house (‘we have a reputation to maintain’, Lorne told him), and was able to carry the scheme through without too much alteration – though the incorporation of window shutters is a familiar Blount touch. Even so, perhaps the style was too raw for Marylebone society as the building never saw residential use, being acquired in 1933 by G. Grey Wornum and converted to his architectural offices. Wornum was succeeded in 1950 by Sydney Clough, Son & Partners. Poor modern refenestration has diluted the building’s vigour.

    39 Devonshire Street in 1933 (© Historic England Archive)

    39 Devonshire Street, interior in 1933, when in the occupation of G. Grey Wornum (© Historic England Archive)

    Lorne and Farquhar must have known that such an uncompromising elevation, difficult enough to achieve in a mews, would be unacceptable on a Marylebone street front. At No. 40 the brand of Georgian Revival architecture they contrived is reminiscent of Lutyens’s domestic Queen Anne style of the 1910s. The obtrusive shutters, which detract from the design’s clarity, were not present in their original drawings. The first resident in 1935 was Louis Donn, of a Whitechapel family of tobacco merchants.

    39 Weymouth Street – a house by G. Grey Wornum

    Beyond the Harley Street Clinic, at the corner of Wimpole Mews, stands 39 Weymouth Street, one of the 1930s rebuildings in the area by Bovis Ltd, in this instance the work of G. Grey Wornum, architect of the new RIBA headquarters on Portland Place. That commission won him renown for spatial dexterity and commitment to high-quality fittings, qualities apparent in this interesting house.

    39 Weymouth Street (photographed by Chris Redgrave for the Survey of London © Historic England)

    Wornum’s involvement is not readily discernible from the rather staid Georgian-style frontage. His original plans of 1934 for Vincent Gluckstein of Bovis were more radical, for a flat-roofed modernistic house, but Colonel Blount, the Howard de Walden surveyor, wanted something more ‘pleasing’ and in harmony with the traditional character of the estate. Forced to concede to Blount’s insistence on a pitched roof, he managed largely to conceal it behind a high parapet, but ignored persistent requests for distracting window shutters to be added to the elevation. The only contemporary touch is the Deco curve of the rear wall in the adjoining mews.

    39 Weymouth Street, rear view from mews (photographed by Chris Redgrave for the Survey of London © Historic England)

    But Wornum’s hand was to the fore inside. Although the house is not listed and has been modernized on several occasions, its interior retains much of the character and some of the features of his original design. The main living space is an exhilarating double-height front room, dominated by an oversized window and giant chimneypiece of pink travertine marble – still with its Wornum-designed firedogs. The room’s original proportions have been restored by the removal of a pair of full-height bookcases either side of the chimneypiece, commissioned from Dennis Lennon in the 1960s. An opening leads to a small dining recess (with its original dumb waiter, concealed in a macassar ebony sideboard), and a curved staircase leads up to a mezzanine in the form of a small wood-panelled study overlooking the main living room. The original finish here was bleached Australian walnut; there were concealed striplights to the fitted bookshelves and a pale leather covering to the balcony handrail (now gone). Two bedrooms on the first floor had built-in wardrobes and the living space was maximized by including a roof garden and also a three-bedroomed staff apartment in the basement alongside a large, rubber-floored kitchen.

    39 Weymouth Street, floor plans and section (redrawn by Helen Jones)

    39 Weymouth Street, the living room (photographed by Chris Redgrave for the Survey of London © Historic England)

    39 Weymouth Street, hall and staircase (photographed by Chris Redgrave for the Survey of London © Historic England)

    The first resident from 1936 until the 1950s was Thomas Lyddon Gardner, chairman and managing director of the Yardley Perfumery and Cosmetics Company, and it is possible that the house was designed specifically for him through Bovis. Photographs of it newly finished were reproduced in the Architect & Building News in 1936 with furniture by Émile-Jacques Ruhlmann much in evidence. Lyddon Gardner was a great admirer of Ruhlmann, commissioning him to design furniture in the 1920s and 30s for Yardley’s showroom in Bond Street and acquiring pieces to decorate his own apartment; Ruhlmann also designed for the Yardley showroom in Paris. Lyddon Gardner was followed at No. 39 by (Sir) David Webster, Director of the Royal Opera, who lived here with his partner, the designer and fashion businessman James Cleveland Belle, until his death in 1971.

    The Survey of London, December 2017

    By the Survey of London, on 29 December 2017

    Recently we have been looking through our archive on the history of the Survey of London, which traces its beginnings to the 1890s. These large cloth-bound boxes brimming with letters, newspaper cuttings, photographs and pamphlets include detailed reports on the progress of the Survey.

    A pamphlet recording the progress of the London Survey Committee, as the Survey was formerly known, at Midsummer 1929.

    As it is customary during the festive season to reflect on recent achievements, current research, and plans for the future, we think it might be timely to share an update on the current progress of the Survey. 2017 has been an important year for the Survey of London, marked by the publication of Volumes 51 and 52 on South-East Marylebone by Yale University Press, supported by the Paul Mellon Centre for Studies in British Art. We are delighted that these volumes, which document a rich and varied part of the capital, have been received with glowing reviews:

    • “Superbly researched, well written and comprehensively illustrated…” – John Martin Robinson, Country Life, October 2017.
    • “These two [volumes] cover a chunk of the historic West End in unrivalled detail following years of rigorous research…” – Robert Bevan, Evening Standard, December 2017.

    The draft chapters for these volumes have been made freely available online via our website.

    Covers of Volumes 51 and 52 of the Survey of London on South-East Marylebone, published in Autumn 2017. 

    The Survey is following up its two volumes on South-East Marylebone with a study of South-West Marylebone, covering the area west of the boundary of the previous volumes as far as Edgware Road. A comprehensive study of Oxford Street is also underway to produce a volume covering both sides of the street from Tottenham Court Road to Marble Arch. As the longest continuous shopping street in Europe since the eighteenth century, Oxford Street is a unique phenomenon. Though it has witnessed almost continuous change, it has never lost its popularity. The traffic, the crowds and the modes of transport will be an equal part of the Survey’s study along with the buildings and shops of Oxford Street. Publication date is estimated as 2019.

    View of Oxford Circus taken from the roof of Spirella House, 266270 Regent Street, looking north-west. (© Survey of London, Lucy Millson-Watkins)

    Research is continuing in Whitechapel, an area with a multifaceted history that is currently in the throes of intense change. In Autumn 2016 the Survey launched a public collaborative website, ‘Histories of Whitechapel’, with the involvement of the Bartlett Centre of Advanced Spatial Analysis at UCL and supported by a grant from the Arts and Humanities Research Council. This ongoing project is an experiment in the public co-production of research, which during the last year has encompassed oral-history interviews, walking tours, exhibitions, and film viewings, all in addition to the combination of rigorous research, field investigation and architectural drawings that is the mainstay of the Survey of London series.

    View of Whitechapel Road in 2015, looking east towards the City. (© Survey of London, Derek Kendall)

    As many of our readers will know, the Survey has been based at the UCL Bartlett School of Architecture since 2013. Research has recently begun towards an in-depth study of University College London for the Survey’s monograph series, which is devoted to buildings and sites of particular note. The forthcoming monograph will focus on UCL’s Bloomsbury campus, the historic core of the university’s estate. Publication date is intended as 2026, to coincide with celebrations for the bicentenary of the university’s foundation.

    View of UCL’s main quadrangle from Gower Street, looking east towards the dignified Corinthian portico of the Wilkins Building. (© UCL Creative Media Services, Mary Hinkley)

    Areas covered by the Survey of London in 2017, including current studies in Oxford Street, Whitechapel and South-West Marylebone. Please click to extend the map and view a list of volumes.

    The Survey of London’s favourite festive photographs

    By the Survey of London, on 21 December 2017

    Thank you for taking the time to read the Survey of London’s blog posts over the last year. Here follows a selection of our favourite festive photographs from our past and current studies of the capital’s built environment. Happy Christmas and all good wishes for the New Year.

    Oxford Street

    The character of Oxford Street is defined above all by its shops, and Christmas is its busiest time of the year. In 2015 we asked Lucy Millson-Watkins to photograph the lights, sights and decorations of Christmas on Oxford Street. Here is a selection of the photographs that she took, first published online in a blog post which considered the festive season on Oxford Street and its enduring traditions.

    Oxford Street at dusk, looking east. (© Survey of London, Lucy Millson-Watkins)

    Christmas bauble decorations strung across Oxford Street in December 2015. (© Survey of London, Lucy Millson-Watkins)

    Boots, with understated decoration. (© Survey of London, Lucy Millson-Watkins)

    Whitechapel

    Last December it was announced that the Whitechapel Bell Foundry would close in May 2017, and this year has witnessed its closure and the end of what has been a remarkable story. Business cards claim the bell foundry as ‘Britain’s oldest manufacturing company’ and ‘the world’s most famous bell foundry’ – the first not readily contradicted, the second unverifiable but plausible. The business, principally the making of church bells, had operated continuously in Whitechapel since at least the 1570s. It had been on its present site with the existing house and office buildings since the mid 1740s. Derek Kendall’s wintry photographs of the bell foundry in 2010 provide an insight into its historic buildings and the preservation of traditional craftsmanship until its closure. If you would like to read the Survey’s full account, please click here to find the draft text on the Survey’s ‘Histories of Whitechapel’ website.

    Shopfront at the east end of 32–34 Whitechapel Road in 2010. (© Historic England Archive, photographed by Derek Kendall)

    Inner yard of the bell foundry, looking north-west in 2010. (© Historic England Archive, photographed by Derek Kendall)

    Tuning shop in 2010. (© Historic England Archive, photographed by Derek Kendall)

    University College London

    There is a Survey of London monograph on University College London in the offing. UCL’s first architectural expression was the grand neoclassical building constructed in 1827–9 to designs by William Wilkins, its portico and dome a prominent statement. Only the central range of this scheme was completed, yet successive wing extensions have formed a dignified quadrangle in Gower Street.

    The Corinthian portico and dome of the Wilkins Building is instantly recognizable and has been adopted by UCL as its logo. (© UCL Creative Media Services, Mary Hinkley)

    View of the Wilkins Building from Gower Street, looking east. (© UCL Creative Media Services, Mary Hinkley)

    Even the railings in front of the Cruciform Building, formerly University College Hospital, received a generous helping of snow in February 2009. Alfred and Paul Waterhouse’s triumphant red-brick and terracotta hospital was built on a cruciform plan in 1896–1906. (© UCL Creative Media Services, photographed in 2009 by Mary Hinkley)

    Battersea

    Clapham Common is one of London’s most-prized public spaces, notable for its wide-open character and the clear sense of definition and urbanity imposed by its boundaries. An essentially triangular and uniform area of some 220 acres, it has lost less ground to development than most metropolitan commons. Archery was a popular pastime in the eighteenth century, as were boxing and hopping matches, and occasional fairs which attracted larger gatherings. Today the common boasts a mixture of formal and informal planting, tree-lined roads, sports facilities, play areas, and broad open spaces. The ponds and the bandstand (1890) are notable remnants of improvements effected in the nineteenth century, when cricket, football, tennis, golf, horse riding, model yachting and bathing were all enjoyed on the common. If you would like to read the Survey’s full account of Clapham Common from the Battersea volumes (published in 2013), please click here to download the draft chapter on ‘Parks and Open Spaces’ from our website.

    Clapham Common, the north-western panhandle under snow in 2013. St Barnabas’s Church on Clapham Common North Side is within view in the distance, its pitched roofs adorned by a dusting of snow. (© Historic England, Chris Redgrave)

    Sledging on Clapham Common in 2013. (© Historic England, Chris Redgrave)

    Clapham Common under snow in 2013, view towards Clapham Common North Side. (© Historic Englnad, Chris Redgrave)

    South-East Marylebone

    The brick church and lofty spire of All Saints, together with the twin clergy and parish buildings that front it towards Margaret Street, comprise a renowned monument to Victorian religion and architecture. Exuberant and compact, the group was built in 1850–2 by John Kelk to designs by William Butterfield, yet the interior of the church with its painted reredos by William Dyce was not completed and opened till 1859. Butterfield continued to embellish and alter All Saints throughout his lifetime, and it is always regarded as his masterpiece. Among decorative changes to the interior since his death, the foremost were those made by Ninian Comper between 1909 and 1916. Recent restorations have reinforced Butterfield’s original vision of strength, experimental colour and sublimity. A full account of this astonishing church has been published in the Survey’s volumes on South-East Marylebone, published in 2017. Please click here to read the account of All Saints’ Church in the Survey’s draft chapter on Margaret Street.

    View of All Saints’ Church, Margaret Street from the west. (© Historic England, Chris Redgrave)

    North aisle, looking north-east. (© Historic England, Chris Redgrave)

    Nativity scene on the wall of the north aisle. The tilework at All Saints was designed by Butterfield, painted by Alexander Gibbs and executed by Henry Poole & Sons in 1875–6. (© Historic England, Chris Redgrave)

    The ‘bijou’ or ‘dwarf’ houses of the Howard de Walden grid. Part 1: the Victorian and Edwardian periods

    By the Survey of London, on 24 November 2017

    The east–west streets at the northern end of the Howard de Walden Estate in Marylebone – Devonshire Street, Weymouth Street and New Cavendish Street – are notable for the prevalence of a particular building type: the so-called ‘bijou’ house fronting the main street at the corner of a mews, where established rights to light restricted building to two, or at most, three storeys. Sometimes detached, often double-fronted, these smaller houses made a major contribution to the streetscape where there had formerly been only the blank return walls of the big houses in the grander north–south streets like Harley and Wimpole Streets, or their lowly mews additions.

    Though this was a predominantly turn-of-the-century phenomenon, there were antecedents. A little house facing Devonshire Street (now 117a Harley Street) had been partitioned out of a corner house on Harley Street (No. 117) by the mid 1840s. In 1855–6 a stuccoed, Regency-style two-storey house was added next door (now 21 Devonshire Street) on the site of a stable building at the corner with Devonshire Mews West, and was imitated twenty years later by a pair in like clothing on former mews plots on opposite sides of Weymouth Street (Nos 36 and 43, of 1870–4). But unlike the later examples, these do not appear to have been part of a conscious trend.

    That trend began with Barrow Emanuel, partner in the successful London-Jewish architectural practice Davis & Emanuel. In 1886 he negotiated for a sublease of the old stable block at the rear of a corner house at 90 Harley Street, asking if the Estate would be happy for him to rebuild not with stables but with a small house facing Weymouth Street (now No. 32a). Its success encouraged Emanuel to do likewise in 1894–5 with the similar site opposite, at the rear of 88 Harley Street, where he built another new house (33 Weymouth Street); and he was disappointed in 1898 not to secure a further such plot on New Cavendish Street (No. 55), behind 67 Harley Street, but the fashion had by then caught on, and competition and prices were rising sharply. By that date Emanuel had built a comparable ‘bijou residence’ for his own use at 147 Harley Street (since demolished). No. 114a Harley Street, of 1903–4, erected facing Devonshire Street, seems to be the last of his creations of this type in the area.

    The heyday of these mews-side houses was the early 1900s, up to the outbreak of war in 1914, during which period some dozen examples were erected in these three east–west streets. A few more were added in the late 1910s and 20s and then a remarkable group was commissioned by Bovis Ltd in the 1930s from three eminent modern architectural practices: 39 and 40 Devonshire Street (Burnet, Tait & Lorne, 1930–3), 22 Weymouth Street (Sir Giles Gilbert Scott and Adrian Gilbert Scott, 1934–6) and 39 Weymouth Street (G. Grey Wornum, 1935). This says much for the good taste and connections of the Gluckstein and Joseph families, who oversaw the Bovis firm’s rise to prominence in the 1920s and 30s. (These interwar examples will be discussed in more detail in a later blog.)

    Stylistically, the red-brick and stone Emanuel-era houses of the 1880s and 90s can be viewed as part of the Queen Anne and neo-Jacobean domestic revival that had proved popular in Kensington for large residences, but here on a more intimate scale. The occasional use of bay windows, porches or asymmetry added to the interest of their façades. Greater variety arrived in the early 1900s when neo-Georgian or freer Flemish styles were also adapted to such plots, and sometimes a more severe Baroque stone-fronted neo-classicism. Such houses were necessarily compact in plan but often offered a more convenient and modern arrangement than the older, bigger terraced house types, all the reception rooms being gathered together at ground-floor level, leaving the upper floor for main bedrooms and bathrooms. As a result they were suited to fewer servants and relatively cheap to run from the domestic point of view. For many turn-of-the-century residents who still preferred a degree of privacy or separation, this was a more attractive alternative to the expensive big houses than the increasingly popular blocks of flats. Though sometimes referred to (inaccurately) as ‘maisonettes’, they were more commonly known at the time as ‘dwarf’ houses, on account of their comparative lack of height.

    Howard de Walden Project. Weymouth Street, Marylebone, Greater London. View from.

    Adjoining mews-end ‘dwarf’ houses on Weymouth Street: No 34 (right), of 1908 (designed by F. M. Elgood); and No 36, of 1874 (photographed by Chris Redgrave for the Survey of London, © Historic England)

    It has been suggested that this crop of stylish ‘dwarf’ houses was an attempt by the Howard de Walden Estate to reintroduce residential use in an area where commerce, medicine and institutions had all but taken over. But the process was driven more by speculators and developers than by the Estate; and though frequently proclaimed as ‘private’ residences, they were more often than not first taken by (and many seem always to have been intended for) medical practitioners as consulting rooms with living space above.

    Individual examples:

    114a Harley Street dates from 1902 and was the last of the architect Barrow Emanuel’s effective mews corner houses – asymmetrical, partially gabled, in red brick and warm stone, and with a pitched red-tiled roof pierced by dormers. Its first resident in 1905 was Dr Louisa Garrett Anderson (d. 1943), daughter of Elizabeth Garrett Anderson. She was in private practice here as well as working at the women’s hospital on Euston Road founded by her mother, whose social reform agenda she shared, establishing a Women’s Tax Resistance League at this house in 1909. Subsequent practitioners at No. 114a included the neurologist and psychotherapist Dr Hugh Crichton-Miller (d. 1951), founder of the Tavistock Clinic.

    21 Devonshire Street, of 1855–6, appears to have been the first purpose-built ‘dwarf’ house in the area. It is a simple two-storey box, but with a subtly arranged, stuccoed front incorporating broad relieving arches to the ground-floor fenestration and a bowed central first-floor window. It was a speculation by the Norwich lawyer Merrick Bircham Bircham, who had recently taken on the lease of 117 and 117a Harley Street, in whose grounds it was built. But Bircham’s lease referred to it as a ‘dwelling and studio’, so it is possible that it was purpose-built for its first resident, the sculptor Joseph Durham, who lived here from 1856 until his death in 1877. Many of Durham’s best-known works would have been modelled here, including his monument to the Great Exhibition (unveiled 1863), now outside the Albert Hall. The iron-and-glass canopy to the entrance is an addition of 1910 by Claude Ferrier.

    Howard de Walden Project. 21 Devonshire Street, Marylebone, Greater London. View from south west.

    21 Devonshire Street (photographed by Chris Redgrave for the Survey of London, © Historic England)

    38 Devonshire Street is a double-fronted, red-brick mews corner house of 1902–3, given a neo-Elizabethan twist by double-height bays and heavy, stone-mullioned and transomed windows. The architects were Edward Barclay Hoare and Montague Wheeler. Always in medical use, it was recently refurbished by a private dental practice, who added basement seminar rooms. For over ten years in the 1950s–60s, Stephen Ward, the osteopath at the centre of the Profumo Affair, had his consulting rooms at No. 38. No evidence has come to light to support the repeated claim that his client Lord Astor (who gave him the use of a weekend retreat on the Cliveden Estate) bought the house so that Ward, then in financial difficulties, could continue to occupy it rent-free. There were complaints of noisy female guests in Ward’s apartment many years before the scandal erupted in 1963, by which time he had moved with Christine Keeler to a flat in Wimpole Mews, though he continued to practise at No. 38.

    Howard de Walden Project. 38 Devonshire Street, Marylebone, Greater London. View from north east.

    38 Devonshire Street (photographed by Chris Redgrave for the Survey of London, © Historic England)

    32a Weymouth Street, the first of the area’s late Victorian and Edwardian ‘dwarf’ mews corner houses, was designed by Barrow Emanuel and built in 1886–7 on a site formerly occupied by stabling in Devonshire Mews attached to Nos 90 and 90a Harley Street. Its vernacular Queen Anne Revival style, in red brick with stone dressings, and the two-storey, double-fronted design set the tone for many of the others that followed. Attractive sunflower panels enliven the brickwork and there are carved arabesques to the stone entrance porch and a small monogram (‘BE’) set into the front wall, commemorating the architect. The first residents in the later 1880s and 90s were the cigar importer Arthur Frankau and his wife Julia (née Davis) – better known for her popular novels of London-Jewish life under the pseudonym Frank Danby.

    Howard de Walden Project. Weymouth Street, Marylebone, Greater London. View from.

    32a Weymouth Street (photographed by Chris Redgrave for the Survey of London, © Historic England)

    93a Harley Street (Harley Lodge) is another fine example of the double-fronted mews house rebuildings, this time of the early 1900s. Like its dourer stone-fronted equivalent at 90a Harley Street it was designed in 1911 for the developer Charles Peczenick by Sydney Tatchell, but on this occasion in a more playful red-brick and stone neo-Georgian manner, with a degree of asymmetry within the flanking pedimented end bays. In medical use from the beginning, it is now, like many of its type, a private dental surgery.

    Howard de Walden Project. Harley Street, Marylebone, Greater London. View from.

    Howard de Walden Project. Harley Street, Marylebone, Greater London. View from.

    93a Harley Street (photographed by Chris Redgrave for the Survey of London, © Historic England)

    More of a Baroque air attaches to its neighbour of 1908–10 at 1a Upper Wimpole Street, the work of W. Henry White, with its prominent Flemish-looking gables and giant scrolls. The first-floor window shutters were originally painted green to complement the cherry-red brickwork. The house was a speculation for Samuel Lithgow, the Wimpole Street solicitor and Progressive LCC representative for St Pancras. Its first occupant from 1910 until at least 1937 was Peter Lewis Daniel, a senior surgeon at Charing Cross Hospital, who had a private practice here. Having been in medical use for some time, in 2012 the house was the subject of a high-tech conversion to a five-bedroom family home (by Urban Mesh Ltd).

    Howard de Walden Project. 1a Weymouth Street, Marylebone, Greater London. View from south.

    Howard de Walden Project. 1a Weymouth Street, Marylebone, Greater London. Detail of gable, view from south.

    1a Upper Wimpole Street (photographed by Chris Redgrave for the Survey of London, © Historic England)

    55 New Cavendish Street is another of the area’s characteristic mews-side houses, with its stripey red-brick and stone gables, and bows to the front ground-floor drawing and dining rooms. It was built in 1901 to designs by W. Henry White, perhaps reusing an earlier design that he had published in 1888. The developer was the surgeon and cinema pioneer Dr Edmund Distin Maddick.

    Howard de Walden Project. 55 New Cavendish Street, Marylebone, Greater London. View from south east.

    55 New Cavendish Street (photographed by Chris Redgrave for the Survey of London, © Historic England)

    59 New Cavendish Street is a double-fronted ‘dwarf’ house, though here on a more lavish scale, being entirely fronted in Portland stone in a strong Baroque neoclassical style. Set behind a carriage sweep, it has a prominent central entrance porch with a pediment and heavily blocked columns. It was built in 1910 by Kingerlee & Sons to the designs of F. M. Elgood and was another of the speculations in the area funded by the solicitor Samuel Lithgow. The first occupants, there until the 1940s, were Reuben Goldstein Edwards and his wife Edith. He had made a fortune from Edwards’ Harlene hair restorer and colourant. Edith’s philanthropic work later earned her an MBE, and during the First World War their house was given over to the Red Cross Central Workrooms for the production of hospital garments for the wounded. Since the Second World War it has been predominantly in commercial or medical use.

    Howard de Walden Project. 59 New Cavendish Street, Marylebone, Greater London. View from south.

    59 New Cavendish Street (photographed by Chris Redgrave for the Survey of London, © Historic England)

    Harley Street

    By the Survey of London, on 13 October 2017

    Harley Street has long been synonymous with the top echelon of the medical profession, a Harley Street consultant the apogee of the profession. This reputation was forged in the second half of the nineteenth century, and although it dimmed a little in the years after the Second World War, it enjoyed a resurgence in the late twentieth century with the growth of private health care.

    Howard de Walden Project. Harley Street, Marylebone, Greater London. View from.

    General view of the west side of Harley Street looking south from New Cavendish Street. Photographed by Chris Redgrave for the Howard de Walden Estate and the Survey of London. © Historic England

    The street itself has preserved its residential appearance, despite the fact that for the most part residence is now confined to upper-floor flats. It was first conceived in the early eighteenth century, but largely laid out and built up between the 1750s and 1780s. Although much Georgian fabric remains, there has been considerable rebuilding, particularly in the southern stretches of the street.

    Detail of the 1 - 5 Harley Street on the corner with Cavendish Square. Photographed by Chris Redgrave

    Detail of  1–5 Harley Street on the corner with Wigmore Street, designed by Robert J. Worley and built in 1896-9. Photographed by Chris Redgrave © Historic England

    From the beginning Harley Street was one of the more fashionable addresses hereabouts, with aristocracy, gentry, politicians, high-ranking clergymen, military and naval officers resident for the London season. Here too were the portraitist Allan Ramsay, and J. M. W. Turner before he decamped round the corner to Queen Anne Street. Increasingly in the early nineteenth century wealthy merchants took up residence. Many owed their wealth to slavery, from sugar plantations in the colonies and later from the huge sums paid out in compensation to plantation owners following the abolition of the slave trade. Others had grown rich through the East India Company, so many that Harley Street became as notable for its ‘nabobs’ as it became for its doctors. As late as 1841 Blackwood’s Edinburgh Magazine reckoned that ‘the claret is poor stuff, but Harley Street Madeira has passed into proverb, and nowhere are curries and mulligatawny given in equal style’.

    DP176911

    This general view of 74 to 82 Harley Street gives a good impression of the street’s Georgian character, and perhaps a sense of that monotony so disliked by the Victorians. The houses date from the 1770s, with the usual later alterations of balconies, stuccoed ground storeys and raised upper floors. Photographed by Chris Redgrave © Historic England

    During the earlier decades of Victoria’s reign members of parliament and lawyers were prominent in Harley Street. The street so epitomised dull respectability that it was chosen by Charles Dickens as the home of Mr Merdle in Little Dorrit, first published in 1855–7. Disraeli too, in Tancred published in 1847, derided ‘your Gloucester Places, and Baker Streets, and Harley Streets, and Wimpole Streets, and all those flat, dull, spiritless streets, resembling each other like a large family of plain children’. Disraeli’s great political opponent Gladstone occupied 73 Harley Street from 1876–82. His arrival coincided with his campaign on the Eastern Question, arising from the massacre of Orthodox Christians in the Balkans. On a Sunday evening in 1878 a ‘jingo mob’ gathered outside his house, hurling stones and verbal abuse at his windows.

    73 Harley Street. Gladstone lived in the house previously on this site, which would have resembled those on either side. The present No. 73

    73 Harley Street. Gladstone lived in the house previously on this site, which would have resembled those on either side. The present No. 73 was rebuilt in 1904 to designs by W. Henry White for the ophthalmic surgeon Walter Hamilton Hylton Jessop. The blue plaque commemorates not only Gladstone’s residence from 1876–82 but also Sir Charles Lyell who lived there from 1846–75. Photographed by Chris Redgrave © Historic England

    By this time Marylebone had long been associated with medicine. Indeed, medicine arrived at the same time as the housing boom of the 1750s onwards. Most of the early evidence relates to institutions for treating the poor. Hospitals, like housing, gravitated to healthy suburban locations close to open fields and fresh air. When the Middlesex Hospital was built on Mortimer street in 1757 it was at the very edge of the expanding city, as was the parish workhouse in Paddington Street.

    Entrance to No. The size and number of doctor's brass plates were strictly controlled by the Howard de Walden Estate, with regular checks against the Medical Directory to weed out interlopers.

    Entrance to No. 118. The Georgian house on this site was rebuilt in around 1909–10 to designs by F. M. Elgood with stone carvings by A. J. Thorpe. Together with its neighbours to the south, Nos 114 and 116, it was reconstructed behind the retained façade in 2005–9 as consulting suites and a pathology laboratory for the London Clinic by the architects Floyd Slaski Partnership. Photographed by Chris Redgrave © Historic England

    Today, Marylebone generally, and Harley Street in particular, is most closely linked with front-rank medicine and private consultants. From the mid eighteenth century, proximity to London’s teaching hospitals became important for top medical men who held prestigious posts in them. Closeness to aristocratic patients was another major consideration. By the 1840s there were sufficient eminent physicians and surgeons in Cavendish Square and Queen Anne Street to act as a magnet for others. However, around this time those at the top of their profession were as likely to reside south of Oxford Street as north. The medical directory for 1854 shows an even distribution between Marylebone, Mayfair and Bloomsbury.

    Detail of the door to No. 72. The size and number of doctor's brass plates were strictly controlled by the Howard de Walden Estate, with regular checks against the Medical Directory to weed out interlopers.

    Detail of the door to No. 72. The size and number of doctor’s brass plates were strictly controlled by the Howard de Walden Estate, with regular checks against the Medical Directory to weed out interlopers. Photographed by Chris Redgrave © Historic England

    Harley Street’s subsequent primacy is probably accounted for by its immediate proximity to Cavendish Square – the acme of fashionable Marylebone. Even by 1874, when Harley Street’s significance was already established, being close to the square still mattered. In that year Sir Alfred Baring Garrod, physician and gout specialist, moved from 84 Harley Street further south to No. 10 simply to be nearer to Cavendish Square. Twelve years later the surgeon Sir John Tweedy’s move in the opposite direction, from No. 24 to No. 100, was regarded by colleagues as committing professional suicide.

    For most of its history, the southern end of Harley Street was the more fashionable address. Nos 6 and 8 to the left were built in 1825-7, probably by the architect Thomas Hardwick.

    For most of its history, the southern end of Harley Street was the more fashionable address. Nos 6 to 10 (to the left) were built in 1825–7, probably by the architect Thomas Hardwick. Photographed by Chris Redgrave © Historic England

    As fashionable society ebbed away from Marylebone in the late nineteenth and early twentieth centuries, a similar shift of smart medical practice might have been expected, but that never happened. By then many patients of all classes were travelling to see doctors rather than the reverse. But the main reason seems to have been that once a distinct medical community had been established it was found to be enormously beneficial to those within it. This professional interaction is recalled in many memoirs of consultants, who placed great value on the ability to call on the advice or second opinion of a neighbour. In the twentieth century there was also an active policy on the part of the Howard de Walden Estate to preserve the Marylebone grid as a medical enclave.

    Nos 51 (left) and 53 Harley Street. No. 51was built in 1894 to designs by F. M. Elgood for the surgeon William Bruce Clarke on the site of the Turk's Head pub. No. 53 was designed by Wills & Kaula and completed in 1914-15 as a home and practice for the surgeon and urologist Frank Seymour Kidd.

    Nos 51 (left) and 53 Harley Street. No. 51 was built in 1894 to designs by F. M. Elgood for the surgeon William Bruce Clarke on the site of the Turk’s Head pub. No. 53 was designed by Wills & Kaula and completed in 1914–15 as a home and practice for the surgeon and urologist Frank Seymour Kidd. Photographed by Chris Redgrave © Historic England

    The image of the Harley Street doctor relies much on the traditional kind of premises he inhabited. The standard London town house needed little alteration to turn it into a doctor’s house. Ground-floor front rooms became waiting rooms instead of dining rooms, with a consulting room either immediately behind or in the closet wing.

    Nos 82 to 86 Harley Street. No. 84 in the centre was rebuilt in 1909 to designs by Claude W. Ferrier. The neurologist Walter Russell Brain had consulting rooms in No. 86 (on the left) in the 1960s.This retains its rich Georgian interior and was home to Russian ambassadors after 1780, including Count Simon Woronzow and Prince Andreyevich Lieven.

    Nos 82 to 86 Harley Street. No. 84 in the centre was rebuilt in 1909 to designs by Claude W. Ferrier. The neurologist Walter Russell Brain had consulting rooms in No. 86 (on the left) in the 1960s. This retains its rich Georgian interior and was home to Russian ambassadors after 1780, including Count Simon Woronzow and Prince Andreyevich Lieven. Photographed by Chris Redgrave © Historic England

    Originally, the doctor’s dependants occupied the remainder of the house above, but after families moved to the suburbs, houses might be converted or rebuilt as suites of consulting rooms for multiple medical occupation.

    40 and 42 Harley Street show the contrasting architectural taste of the 1890s (No. 42 on the left, by C. H. Worley) and 1930s (No. 40 on the right, by Charles W. Clark, architect to the Metropolitan Railway Company). No. 40 was designed to resemble a private house but provided suites of consulting rooms behind a modish Art Deco entrance hall. No. 42 decked in Worley's characteristic orange-pink terracotta was given Jacobean-style interior decor.

    Nos 40 and 42 Harley Street show the contrasting architectural taste of the 1890s (No. 42 on the left, by C. H. Worley, brother of Robert J. Worley) and 1930s (No. 40, on the right, by Charles W. Clark, architect to the Metropolitan Railway Company). No. 40 was designed to resemble a private house but provided suites of consulting rooms behind a modish Art Deco entrance hall. No. 42 decked in Worley’s characteristic orange-pink terracotta was given Jacobean-style interior decor. Photographed by Chris Redgrave © Historic England

    In the later twentieth century many consultants gave up their private rooms for the better-equipped universities and hospitals. In their place came alternative practitioners and aesthetic therapists for whom the individual consulting rooms in elegant domestic settings provided a soothing backdrop. In the latest conversions encouraged by the Howard de Walden Estate there has been a policy of reconstruction to create purpose-built consulting suites over reinforced basements, allowing the latest diagnostic equipment to be installed behind retained facades, which preserve the historic character of the district.

    Early twentieth century Birn Brothers postcard, poking fun at the Harley Street consultants and their patients. © H. Martin. Reproduced by permission of H. Martin

    Early twentieth century Birn Brothers postcard, poking fun at the Harley Street consultants and their patients. © H. Martin. Reproduced by permission of H. Martin

     

    Daunt Books, 83 Marylebone High Street

    By the Survey of London, on 22 September 2017

    Daunt's Bookshop, Marylebone High Street. Photographed by Chris Redgrave for the Howard de Walden Estate and the Survey of London Historic England

    Daunt’s Bookshop, Marylebone High Street. Photographed by Chris Redgrave for the Howard de Walden Estate and the Survey of London. © Historic England

    Daunt’s in Marylebone High Street is a favourite destination for book lovers. With its top-lit gallery, a remarkable Edwardian survival, it has one of the most distinguished interiors in the country. James Daunt took over the premises in 1989–90, initially specializing in travel books, and expanded into the next-door shop in 1999. But there had been a bookshop here since 1860. At that time it was in the hands of Francis Edwards. He had married in 1855 Sarah Anne Stockley whose father, Gilkes Stockley, was a bookseller with a shop in Great Quebec Street near Portman Square. After the marriage, Edwards took over Stockley’s business and five years later, with a growing family, moved to the High Street. He took the lease of what was then No. 83A. It became No. 83, as it is now, in 1927 (until then the present 83A was No. 83).

    Detail of the gable of No. 83 Marylebone High Street photographed by Chris Redgrave

    Detail of the gable of 83 Marylebone High Street photographed by Chris Redgrave. © Historic England

    The High Street as it developed during the late eighteenth and nineteenth centuries was as mixed in shopping and business character as any London high street. In the early 1830s Thomas Smith, in his invaluable Topographical and Historical Account of St. Mary-le-Bone, summed up its humdrum character in a single sentence: ‘The houses have nothing to recommend them in point of architectural beauty, being plain brick buildings; and from their having been built at various periods are destitute of uniformity; they are, however, principally occupied by respectable tradesmen’.

    Marylebone High Street, Daunt's bookshop and on the right No. 83 A built around 1859. Photographed by Chris Redgrave.

    Marylebone High Street, Daunt’s bookshop and on the right No. 83A, built around 1859. Photographed by Chris Redgrave. © Historic England

    There was some small-scale mid Victorian rebuilding of shops and public houses as leases expired, but nothing to alter radically the look of the street until the late nineteenth century when the Portland (later Howard de Walden) Estate began a systematic policy of complete rebuilding as the condition for renewing old leases. When Edwards moved to the High Street it was to a late eighteenth-century building, although the neighbouring premises to the north (the present 83A) had been rebuilt the year before.

    The top lit gallery at the back of No. 83 Marylebone High Street. Photographed by Chris Redgrave.

    The top-lit gallery at the back of 83 Marylebone High Street. Photographed by Chris Redgrave. © Historic England

    Originally specializing in theology, the shop expanded under the management of Francis’s son, also Francis, to become one of the country’s leading antiquarian bookshops. Theology gradually gave way to a new emphasis on travel, topography and maps. Business evidently thrived, as Edwards embarked on a no-expense-spared rebuilding in 1908. By that time the family was no longer living over the shop, having moved out to the London suburbs, first to Ruislip and then to Northwood. Edwards chose W. Henry White as his architect, among the best of a handful of architects regularly employed on rebuilding schemes on the estate around this time. At the same time White also designed No. 84, the adjoining property to the south, in a similar vein, and a few years earlier had designed Nos 70 and 71 (built in 1903–4).

     Arched window at the end of the gallery at 83 Marylebone High Street. Photographed by Chris Redgrave.

    Arched window at the end of the gallery at 83 Marylebone High Street. Photographed by Chris Redgrave. © Historic England

    Nos 83 and 84 are an unmatched pair in red brick with plentiful stone dressings topped off by shaped gables, in the commercial Queen Anne style favoured by the Estate. The date 1910 can be seen on a shield above the three arched windows lighting the attic of No. 83. The elegant shopfront with its central doorway flanked by large plate-glass display windows also has a side entrance providing access to the upper floors, all framed by pink granite piers and stall risers.

    Shopfront of 83 Marylebone High Street. Photographed by Chris Redgrave.

    Shopfront of 83 Marylebone High Street. Photographed by Chris Redgrave. ©Historic England

    Francis Edwards died in 1944, but the shop remained in the family until the late 1970s. The business was subsequently bought by Pharos Books in 1982 and the shop was briefly known as Read’s of Marylebone High Street. Francis Edwards still exists as an antiquarian bookseller’s, with premises at Hay-on-Wye and in Charing Cross Road.

    Pediment over the entrance to Daunt Books, 83 Marylebone High Street. Photographed by Chris Redgrave © Historic England.

    Pediment over the entrance to Daunt Books, 83 Marylebone High Street. Photographed by Chris Redgrave © Historic England.

    The recent series of Who Do You Think You Are, featuring Charles Dance noted that Dance’s ancestors the Futvoyes had an art shop at No. 83 High Street in the early nineteenth century, and the Howard de Walden archive shows that Charles Futvoye was granted a lease of No. 83 in 1819. This was, however, not on the site of the present No. 83. It may have been the present 83A, or a house further to the north, long since rebuilt.

    University of Westminster, Marylebone Road campus

    By the Survey of London , on 1 September 2017

    South-east Marylebone is the home of the University of Westminster, founded in 1992. Though dispersed, its four main sites were inherited by the new university from the Regent Street Polytechnic via the Polytechnic of Central London (1970–92) and were purpose-built at various stages in that institution’s development. Whilst the Regent Street site goes back to the 1830s and the Little Titchfield Street site to the 1920s; the New Cavendish Street and Marylebone Road sites, planned simultaneously, are consequences of the great expansion of British higher education facilities in the 1960s, when the purposes of polytechnics were being reviewed and enlarged.

    The science and engineering buildings in New Cavendish Street were farmed out to private architects in 1962, but the task of building the reformed polytechnic’s other two new faculties on the former Marylebone Workhouse or Luxborough Lodge site, was left to the LCC’s in-house staff. By the time this even grander project started on site, the LCC had become the Greater London Council and its education powers for central London had passed to the Inner London Education Authority. So the official credits for the buildings as erected in 1966–70 were as follows: designers, the GLC Architect’s Department, Education Section, with Michael Powell as chief education architect, Ron Ringshall as job architect and Frank Kinder and J. Buckrell as principal assistants; builders, Taylor Woodrow Ltd; client, the ILEA on behalf of Regent Street Polytechnic, from 1970 the Polytechnic of Central London.

    Architectural model of proposed redevelopment of Marylebone Road campus (University of Westminster Archives, UWA/RSP/7/a/4/2)

    Architectural model of proposed redevelopment of Marylebone Road campus (University of Westminster Archives, UWA/RSP/7/a/4/2)

    The nearly four-acre site consisted of an extensive frontage to Marylebone Road, with a fair depth of land behind accessible on the east from Luxborough Street. It dropped down at the back, tapering slightly towards Paddington Street Gardens. The southernmost portion, furthest from the noisy main road, was reserved for the public housing that the LCC politicians had insisted must form part of the redevelopment. This was conceived as a single tower block (Luxborough Tower), standing directly behind a thinner second tower to its north designated as a student hall of residence. The educational buildings were divided by the architects into three, all set over a continuous concrete podium 3ft above Marylebone Road, allowing a deep basement at the back where ground levels were lower. The main road frontage was entirely taken up by a long, linear teaching building, reserved in the first place for the college of architecture and advanced building technology. At a central point the lower storeys of this monumental frontispiece opened up into a courtyard, backed by a T-shaped building dedicated to communal and service facilities of various kinds ranging from lecture theatres and a library to engineering construction halls underneath. The third element, the college of management, occupied a simple north–south block parallel to the western boundary, defined by the rear of flats in Chiltern Street. These latter blocks were linked by covered ways at first-floor level to the student hostel at the back, which comprised 178 study-bedrooms and 40 larger bed-sitting rooms for management students – many of whom were expected to be mature, short-course students on release from industry. Under the lee of the T-shaped block and facing Luxborough Street an extra single-storey building was slipped in, a local office for district surveyors.

    The setting of these separate elements round paved open space, sturdily shielded from the main road, offered the Polytechnic a campus air it had not previously enjoyed. On the other hand the frontage itself struck an urban and triumphalist note, not rare in public-sector architecture of the 1960s. The concept was of a concrete megastructure, forceful enough to command attention on a major traffic artery, articulated by insistent horizontals for the accommodation against verticals for the circulation, bristling with expressed escape stairs at the two ends, and crowned by a hefty overhang along its full length. The priority given to the overhang, which straddles both sides of the front building, was symbolic, for here were located the architectural studios. The teaching of architecture had been to the fore throughout the pre-planning process. The section of these rooftop studios, taking up the fifth to seventh floors, therefore received the designers’ best attention; along each of the frontage’s four divisions between the circulation towers and stairs ran three interconnected levels, with spaces of differing length, width and height, and sundry provisions for side and top lighting. Unlike the New Cavendish Street spaces, they were neither double-glazed nor mechanically ventilated, and so were subject to road noise and pollution.

    University of Westminster, Marylebone Road campus, 2014 (HEA photograph DP177601)

    University of Westminster, Marylebone Road campus, 2014 (photograph by Chris Redgrave for the Survey of London) © Historic England (DP 177601)

    By the time of the opening in 1970 of 35 Marylebone Road, as the complex was first formally known, the Polytechnic of Central London had just come into being. So long had elapsed since the early enthusiasm with which it had been planned that it was received with some weariness, reflected in the equivocal reviews of the buildings. The thirteen-year gestation ought to have resulted in a ’singularly beautiful birth. In the event it could be said to have been multiple and unadorned.’ So wrote Alan Diprose, a senior lecturer in building technology at the Polytechnic, in a scathing appraisal for the Architects’ Journal. He found fault with many features from the disposition of the library and the canteens to the blatant separation of the educational buildings from the council housing by means of a ‘70 metre high air gap … the two towers present their backsides to each other in a permanently rude gesture of disgust’. [1]

    University of Westminster student housing tower at the Marylebone Road campus (left) and Luxborough Tower, looking east, 2014 (HEA photograph DP177602)

    University of Westminster student housing tower at the Marylebone Road campus (left) and Luxborough Tower, looking east, 2014 (photograph by Chris Redgrave for the Survey of London) © Historic England (DP177602)

    Marylebone Road had been first conceived as a monument to the integration of construction skills; the grandiose title ‘College of Architecture and Advanced Building Technology’, which survived till the opening, reflected that. But the removal of science and much of engineering from the project and the substitution of management studies undermined that technocratic purpose. The whole vision of a superschool in construction – a ‘National College of Architecture’ – was already fading when the LCC became the GLC in 1965, and was to vanish entirely as the public sector lost glamour. Certainly the facilities which the Regent Street Polytechnic’s School of Architecture inherited when it moved to Marylebone Road in 1970 were far superior to those it had enjoyed in Little Titchfield Street; it was probably the best equipped such school in Britain. But the final organization and remit of the college of architecture remained unsettled till the last moment, and left critics with a sense of fragmentation rather than the promised integration. Already it was being hinted at the time of the opening that polytechnic schools of architecture and construction had failed to differentiate themselves from their university counterparts, except by the lower pay of their staff.

    Courtyard of the Marylebone Road campus, c. 1971 (University of Westminster Archives, UWA/PCL/7/a/4/2/27)

    Courtyard of the Marylebone Road campus, c. 1971 (University of Westminster Archives, UWA/PCL/7/a/4/2/27)

    Since 1970 the site has seen both diversification and intensification of use. Architecture, construction and management are now among many topics taught at Marylebone Road under the University of Westminster, and the buildings have been several times altered and expanded to accommodate the various changes. The permeable front and paved court have disappeared, leaving very little of the site open to the elements. The most significant such changes were the infilling of the entrance void and erection of a canopy in 2002 by Dannatt, Johnson Architects, and their creation of the Hogg Lecture Theatre in the back block. This was followed in 2012 by a large-scale refurbishment by GM Rock Townsend, architects, which fully-roofed the open courtyard to create a new informal social learning space. Blighted by insensitive partitioning and subdivisions accumulated over the years, the open-plan layout of the architecture studios on the fourth and fifth floors was reinstated in 2015 by Jestico+Whiles, architects.

    Architecture studios, 2015 (© Richard McDonald, Jestico+Whiles)

    Architecture computer lab and lecture hall, 2015 (© Richard McDonald, Jestico+Whiles)

    Reference

    [1] Architect’s Journal, 2 June 1971, pp. 1245–64.

     

    Western District Post Office, 35–50 Rathbone Place (demolished)

    By the Survey of London, on 11 August 2017

    This, the second of our postal posts, is a complement to the story of the East London Mail Centre published here on 11 November 2016 with its mention of the narrow-gauge Post Office Underground Railway or ‘Mail Rail’. Since then, in July 2017, a section of Mail Rail has been restored to use and opened to the public at the Postal Museum at Mount Pleasant (see www.postalmuseum.org). This railway was a mail-transport line that connected Whitechapel to Paddington. Tunnels at a shallow depth (averaging around 70ft) and 9ft in diameter were built by John Mowlem and Company in 1914–17, though the tracks were not laid and equipment fitted until 1924–7 for what opened as the world’s first driverless electric railway.

    Another aspect of the line’s history relates to a site in south-east Marylebone, the area that is covered in the Survey of London’s forthcoming volumes 51 and 52, set for publication in late 2017. A site immediately above the mail-transport line in the West End, on the west side of Rathbone Place, suffered significant Second World War bomb damage. Despite the railway the Post Office faced growing problems with access and loading at its West End offices (Western Central District Office, New Oxford Street: Western District Office, Wimpole Street; and Western District Parcels Office, Bird Street). This was said after the war to pose ‘the worst postal accommodation problem in the country’.1 It led to a decision to replace the last two depots and their underground stations with a new Western District Office at Rathbone Place. The site was designated for compulsory acquisition to this end in the London County Council’s Development Plan of 1952, and passage of the Post Office Site and Railway Bill in 1954 enabled the purchase of 2.3 acres, in the event voluntary. With Sir William Halcrow & Partners as engineers the railway was expensively diverted from a diagonal south-east to north-west path across the site to take on an east–west line for a station with two platforms square to the intended building. The cut-and-cover underground works were carried out in 1956–9. Elbow room thus gained permitted a facility less like a Tube station than the line’s earlier stops. Designs for the building above were reworked in 1960 by Alan Dumble, a senior architect in the Ministry of Works. Its first, in the event only, eastern phase was largely up by 1963. The new Western District Office was opened on 3 August 1965 by the Postmaster General, Anthony Wedgwood (Tony) Benn.

    Royal Mail Rathbone place sorting centre.Rathbone place, Marylebone, Greater London. View from north east. Taken for the Survey of London

    Former Western District Post Office, Rathbone Place, from the north east. Photographed in 2013 by Chris Redgrave for the Survey of London © Historic England

    On the long Rathbone Place frontage the building’s concrete frame was expressed in a 28-bay grid between Portland stone-faced stair towers. The fourth storey was set back leaving the structural frame as openwork. Along the pavement, mural artwork was intended but never made. A plan to extend westwards, also not seen through, meant that the utilitarian rear elevation was left starkly open to view from Newman Street behind a large parking yard. Here art did eventually arrive – the flank wall of 15 Newman Street facing the Post Office yard, and Oxford Street beyond, was the site of Banksy’s ‘One Nation Under CCTV’ mural of 2008.

    Royal Mail Rathbone place sorting centre.Rathbone place, Marylebone, Greater London. Postal vans in the basement. View from the south. Taken for The Survey Of London.

    Vans in the basement of the former Western District Post Office, Rathbone Place. Photographed in 2013 by Chris Redgrave for the Survey of London © Historic England

    Inside the post office a ramp led to a basement with parking for vans above the railway station. When new this was among the most mechanized post offices in Europe, with chain conveyors in the upper-storey sorting halls and spiral chutes to despatch mail down to the railway. Its opening coincided with the introduction of post codes and the use of electromechanical sorting machines. The fourth floor housed a canteen and other facilities for staff who numbered more than a thousand. A reconfiguration in 1974–6 provided a bar, games room and lounge, and incorporated stained glass and war memorials from antecedent post offices. A small aedicular Ionic War Memorial of c.1920, transferred from the Wimpole Street office, faced Rathbone Place from 1981 to 2013.

    Royal Mail Rathbone place sorting centre.Rathbone place, Marylebone, Greater London. Stair. Taken for The Survey Of London.

    Staircase in the former Western District Post Office, Rathbone Place. Photographed in 2013 by Chris Redgrave for the Survey of London © Historic England

    Royal Mail Rathbone place sorting centre.Rathbone place, Marylebone, Greater London. sorting floor. Taken for The Survey Of London.

    Sorting floor in the former Western District Post Office, Rathbone Place. Photographed in 2013 by Chris Redgrave for the Survey of London © Historic England

    Royal Mail Rathbone place sorting centre.Rathbone place, Marylebone, Greater London. sorting floor. Taken for The Survey Of London.

    Sorting floor in the former Western District Post Office, Rathbone Place. Photographed in 2013 by Chris Redgrave for the Survey of London © Historic England

    Royal Mail Rathbone place sorting centre.Rathbone place, Marylebone, Greater London. sorting floor. Taken for The Survey Of London.

    Sorting floor in the former Western District Post Office, Rathbone Place. Photographed in 2013 by Chris Redgrave for the Survey of London © Historic England

    Royal Mail Rathbone place sorting centre.Rathbone place, Marylebone, Greater London. sorting floor. Taken for The Survey Of London.

    Sorting floor in the former Western District Post Office, Rathbone Place. Photographed in 2013 by Chris Redgrave for the Survey of London © Historic England

    Royal Mail Rathbone place sorting centre.Rathbone place, Marylebone, Greater London. snooker table in recreation area. Taken for The Survey Of London.

    The long disused games room of the former Western District Post Office, Rathbone Place. Photographed in 2013 by Chris Redgrave for the Survey of London © Historic England

    Royal Mail Rathbone place sorting centre.Rathbone place, Marylebone, Greater London. Pool and snooker tables in recreation area. Taken for The Survey Of London.

    The games room of the former Western District Post Office, Rathbone Place. Photographed in 2013 by Chris Redgrave for the Survey of London © Historic England

    The railway closed in 2003 by which time staff numbers had begun a steep decline justified by decreases in demand for the post. Remaining postal services in what had become the West End Delivery Centre relocated to Mount Pleasant in 2013. This shift had been long in the planning and in 2011 the Royal Mail Group with PLP Architecture had proposed redevelopment of the whole site as ‘Newman Place’, offices, shops and housing with a diagonal pedestrian throughway. Later that year Royal Mail sold the site to Great Portland Estates, retaining an interest through a profit-sharing agreement. A new scheme was prepared and granted planning permission in 2013. This enlarged project, designed by Make Architects (Graham Longman, lead architect), has led to Rathbone Square, two L-plan blocks enclosing a central open garden or courtyard landscaped by Gustafson Porter and rising six to eight storeys for offices to the south-east, 162 dwellings to the north-west, with shops, restaurants and bars. The post office was demolished in 2014 and the new buildings have gone up since. The dormant Mail Rail line has been retained.

    1 – British Postal Museum and Archive, POST 20/23, GPO report, January 1954

    Berners Hotel, the London Edition

    By the Survey of London, on 21 July 2017

    Berners Street Hotel Berners street, Marylebone. Entrance. Taken by Chris Redgrave for the Survey of (c) London Historic England

    Berners Hotel, Marylebone, now the London Edition. Entrance. Photographed in 2013 by Chris Redgrave for the Survey of London © Historic England

    The Berners Hotel is a rare instance of continuity in the area around Berners and Newman Streets. Though the current building dates only from 1905–11, the hotel can be traced back to 1826. In that year the pair of houses at 6-7 Berners Street were converted from a bank into a hotel, involving the dismantling of a massive strong-room at the back constructed of iron and stone. The bank had been established in 1792 by the firm of De Vismes, Cuthbert, Marsh, Creed & Company. Later known as Marsh, Sibbald & Co., it failed notoriously when one of the partners, Henry Fauntleroy, was hanged for forgery in 1824.

    Berners Hotel. Photographed by Chris Redgrave for the Survey of London © Historic England

    Berners Hotel. Photographed by Chris Redgrave for the Survey of London © Historic England

    No such notoriety was attached to the hotel. It was one of many, small family-run establishments in the vicinity of Oxford Street, where fashionable comers and goers mixed with longer-term residents. From the 1820s the private houses in Berners Street were increasingly being turned into lodging houses or shops. Pietro Rolandi’s Italian bookshop was one such at No. 20, a haven for literary and political exiles, which first opened in the same year as the hotel.

    Berners Street Hotel Berners street, Marylebone. Entrance lobby.Taken for Survey of London

    Berners Hotel entrance lobby. Photographed by Chris Redgrave for the Survey of London © Historic England

    In 1880 the hotel’s then owner, Richard Kershaw, sold up to the Berners Hotel Company, which acquired building and fittings alike, barring a piano belonging to Miss Kershaw and an assortment of display cases of stuffed birds. The company lasted a decade, being sold on in 1890 through Thomas Ward, of the London Music Publishing Company, to Berners Hotel Ltd among whose subscribers journalists (Henry Sutherland Edwards and George Augustus Sala) and minor musicians were strong. The hotel was renovated, and shamelessly puffed by the new management for its association with Fauntleroy and its ‘interesting woodwork, carvings, painted ceilings, &c’. Appropriately, in 1895 Ward, its managing director, was charged with the Fauntleroy-like offence of forging bills of exchange to do with the supply of beer and spirits to the establishment.

    Berners Street Hotel Berners street, Marylebone. Entrance lobby.Taken for Survey of London

    Berners Hotel entrance lobby. Photographed by Chris Redgrave for the Survey of London © Historic England

    Not long afterwards another hotel opened near by in Newman Street, the York Hotel. Its manager was Emmeline Lawrence, known as Mrs Mary Clark. A Welshwoman of considerable ambition, she oversaw the expansion of the York Hotel and soon became manager of the Berners as well. Backed by a fresh company, the Hotel York Ltd, she determined to rebuild the Berners Hotel on a much-enlarged site. Slater & Keith were commissioned to design the new building, which went up in stages. The first part completed was at the back, at 82–83 Newman Street and 73–75 Eastcastle Street, wrapping round the Blue Posts pub at the corner. The second, much larger western phase hit a snag when two Eastcastle Street houses, scheduled for demolition but still occupied, collapsed in 1908, killing eight men, all Austrian, German, Italian or Swiss employees of the hotel. The management also fought but lost a long legal battle with the LCC about fire doors or screens in the hotel corridors.

    Berners Street Hotel restaurant interior, Berners street, Marylebone. view towards north west. Taken for Survey of London

    Berners Hotel restaurant interior, view towards north west. Photographed by Chris Redgrave for the Survey of London © Historic England

    Once the rebuilding of the Berners Hotel had been completed in 1910, it was connected to the York Hotel by a subway under Eastcastle Street. The two hotels thus linked both had their main ground-floor public spaces facing west towards Berners Street, where spacious coffee rooms, lounges and main stairs were to be found. But they looked quite different. The York with its two corner tourelles belonged to the late Queen Anne manner affected by Slater in the 1890s, whereas the later and bigger block of the Berners, perhaps attributable to his partner Keith, is an altogether more pompous Edwardian production, neo-Georgian in style touched by Frenchness, with plenty of Portland stone and carving to set off the red brick, a pedimented entrance, and two storeys in the mansard roof. The lounge and coffee room were both double-height spaces, caked in opulent Edwardian plasterwork.

    Berners Street Hotel restaurant interior, Berners street, Marylebone. view towards south. Taken for Survey of London

    Berners Hotel restaurant interior, view towards the south. Photographed by Chris Redgrave for the Survey of London © Historic England

    In 1912–13 Mary Clark tried to expand her hotel empire with an even larger scheme for the Princess’s Theatre site on Oxford Street, and in 1914–15 she ventured on a further new building at 74 Newman Street housing garages for her clients’ cars on two levels underneath five floors of open dormitories for maids. This landed her in financial trouble and she had to go. Under her successor, Henry L. Clark (no relation), the two hotels prospered. In the late 1920s hot and cold water, electric fires and phones were installed in every room; at this time the hotels claimed to be able to sleep 500–600 per night. The smaller York Hotel or Hotel York survived Government requisitioning in 1918 to acquire an extension designed by Slater & Moberly facing Newman Street (Nos 78–79) in 1932. But after it was requisitioned again during the Second World War it was not reopened, becoming a nurses’ home for the Middlesex Hospital in 1946, and then in 1997 a block of flats. The Hotel York Ltd maintained its independent management of the Berners Hotel till 1957.

    Berners Street Hotel Berners street, Marylebone. View of Stair from north west. Taken for Survey of London

    Berners Hotel, view of main stair from north-west. Photographed by Chris Redgrave for the Survey of London © Historic England

    In 1972 the hotel was under threat, but following the intercession of John Betjeman (‘I don’t know who the architect was but he was somebody pretty good’) it was listed and survived. A long period of closure ended in 2013 when the Berners Hotel reopened as the London Edition, fully restored at the behest of Ian Schrager (as at the Sandersons Hotel), here working with ISC Design Studio and Marriott International. The main spaces have been generously restored but, as the management is keen to insist, ‘The London EDITION is no period piece … It is a potpourri of styles that only a sure hand could pull off’. [1]

    Berners Street Hotel Berners street, Marylebone. Plasterwork detail. Taken for Survey of London

    Plasterwork detail, Berners Hotel. Photographed by Chris Redgrave for the Survey of London © Historic England

    1.London Edition press release 2013

    Boulting & Sons

    By the Survey of London, on 19 May 2017

    At the corner of Riding House Street and Candover Street stands one of South East Marylebone’s architectural gems: a group of flats designed for T. J. Boulting & Sons. John Boulting & Son, furnishing ironmongers, were established perhaps as early as 1808 in two nearby houses. This is the date that is proudly displayed on the building, picked out in gold mosaic tiles along with the company name.

    Detail of 59-61 Riding House street, Marylebone, Greater London. View from southt. Taken for Survey of London

    Detail of 59-61 Riding House Street, Marylebone, Greater London. View from south. Taken for the Survey of London by Chris Redgrave © Historic England

    Successive John Boultings died in 1863 and 1873, and a partnership dissolution between a third John and Thomas John Boulting was announced in 1879. Thereafter the firm was known as T. J. Boulting (& Sons).

    59-61 Riding House street, Marylebone, Greater London. View from south west. Taken for Survey of London

    59-61 Riding House Street, Marylebone, Greater London. View from south west. Taken for the Survey of London by Chris Redgrave © Historic England

    Among these sons was Percy Boulting, born about 1876 and seemingly architect-trained, to whose youthful aspirations the present buildings may well have been due. The firm had done well enough for members of the family, at first the father and then Percy’s brothers, to branch out into small property dealings on the Howard de Walden estate from the late 1890s. Naturally they took a special interest in rebuilding around their works. Their first venture appears to have been 40 Foley Street, a five-storey block of flats directly behind the Boultings’ address, built by John Anley in 1898. Its designers were then described as Clark & Hutchinson with Percy A. Boulting, in other words H. Fuller Clark and C. E. Hutchinson, two architects aged about 28 who had met in the office of Rowland Plumbe, plus the even younger Boulting. Later No. 40 was ascribed to Clark alone, and it is to him that the flamboyance of the Boultings’ cluster is usually credited. Clark’s masterpiece is the recasting of the Black Friar pub in the City; otherwise his work is little known, though he claimed to have a substantial practice.

    DP165743

    Flats built for Boultings at 40 Foley Street, designed by H. Fuller Clark, perhaps with H. E. Hutchinson and Percy A. Boulting. Taken for the Survey of London by Chris Redgrave © Historic England

    Architecturally, No. 40 is an up-to-date but not eccentric performance which breaks into roughcast at second-floor level and terminates in two shaped gables. The plan follows the standard late Victorian arrangement in this quarter of two flats per floor, originally with a sanitary excrescence at the back in the form of a central stack of bays shared between two flats. Clark & Hutchinson promptly followed up in 1899 with a second block of flats opposite, Belmont House, 5–6 Candover Street, built this time by A. A. Webber. Here a similar plan is fronted in a weightier, fussier idiom, with a great belt of purple brickwork enveloping the first floor and a dab of Art Nouveau lettering.

    DP-165731

    Tower House, Candover Street. H. Fuller Clark and Percy Boulting, 1903-4. Taken for the Survey of London by Chris Redgrave © Historic England

    Tower House, York House and Oakley House, encompassing the Boultings’ former premises and the Sir Isaac Newton pub on the corner, followed on in 1903–4. This time the architects were described as Fuller Clark and Percy Boulting, without Hutchinson: the builders were Smith & Co. of Mount Street. Again these are essentially five-storey flats, though the backs go one storey higher; here too were originally bare sanitary stacks of bay windows. The fronts are the reverse of bare. Among the tricks set to work are brickwork bands of startling hues, bay projections both canted and square, a bristling roofline and three separate fancily lettered mosaic panels advertising the Boultings firm and its wares (‘gas and electrical engineers’; ‘sanitary and hot water engineers’; ‘appliance and stove manufactory’).

    Detail of 59-61 Riding House street, Marylebone, Greater London. View from south. Taken for Survey of London.

    Detail of 59-61 Riding House Street, Marylebone, Greater London. View from south. Taken for the Survey of London by Chris Redgrave. © Historic England

    Colour was an evident preoccupation; originally three different cements were used, while the window joinery was all white apart from the bay windows, finished in stained oak. Despite the hint of Voysey about these elevations, they are entirely individual and indeed this building too was attributed to Clark alone when it was republished. The Boultings firm survived at 59 Riding House Street up until the 1960s. In 1978 the freehold of all their flats passed to the Community Housing Association, which employed Pollard, Thomas & Edwards, architects, to update them over the subsequent decade. Their changes included enlarging the sanitary bays at the back to form more generous kitchens.

    DP179720 - 59-61 Riding House Street detail

    Detail of 59-61 Riding House Street, Marylebone, Greater London. View from south. Taken for the Survey of London, by Lucy Millsom-Watkins © Historic England