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The Royal Foundation of St Katharine Limehouse London + Langley House Trust Carol Service

Surprised by Joy

The Royal Foundation of St Katharine is a Christian organisation that was established in 1147,” introduces Chaplain Carol Rider. “The original community was next to the Tower of London in St Katharine’s Docks before setting up in Regent’s Park. We’ve been in the East End since the late 18th century. St Katharine’s doesn’t come under the Anglican Diocese: it became a Royal Peculiar when Queen Eleanor recognised it in the 13th century. Since World War II The Queen has been our patron. In fact, all our Patrons have been female royals. The Duchess of Cornwall recently visited us too.” Photos of Camilla add sparkle to the bookshelves of the Lounge.

At the heart of the current St Katharine’s on Butcher Row, Limehouse, rooted in the deep urban fabric is the Master’s House, a handsome tallish squarish brownish brick piece of Georgian London attributed to Thomas Leverton. Note ‘attribution’ only for much of Georgian London was formed not by great architects but by developers. The most extraordinary aspect of the Master’s House is the collection of murals adorning the two principal reception rooms overlooking the garden. Aha! The Queen Matilda Room and the Chapter Room. Such surprise, such joy! A rare explosion of period trompe l’oeil.

­­­­Charles Saumarez Smith believes that St Katharine’s has a “very atmospheric post war chapel”. The former Chief Executive of the Royal Academy of Arts London observes, “The chapel was designed by Roderick Enthoven in 1953. He obviously had a sensitivity to historic buildings because he was able to incorporate some of the surviving medieval fittings which came from the Foundation’s original home, including an Italian reredos.” Charles also notes that the carved lettering in the chapel – check out the Welsh slate altar – is by Ralph Beyer, a German sculptor who was an apprentice of Eric Gill.

The Foundation of St Katharine is a joyous blend of ages, from Festival of Britain architecture to medieval statuary. The eclectic yet harmonious group of buildings housing the Foundation encloses a peaceful garden and stylish croquet lawn. The ultimate urban oasis. Cliché perhaps, reality, yes. Above and beyond the entrance gates to St Katharine’s the Docklands Light Rail whizzes by – an ever urgent flash of red and blue. Below, in full view of the travelling tourists and commuters and locals are the Yurt Café and neighbouring converted shipping container studios. Deconstructivism meets urban renewal meets spare space meets hipsterism meets great coffee in a meaningful meanwhile use.

“The Foundation is committed to worship, service and hospitality,” explains Carol. “Some people just book a room and create their own retreat. Guests might join us for our twice daily worship or use the stillness of the chapel at other times of the day. They might sit in the garden in the sun or under the shade of our huge plane tree. They can use our small library with its comfy chairs. Or they might spend time here at St Katharine’s but also venture out to explore London, to visit some of its wonderful architecture, art galleries and theatres.”

At the turn of the 21st century, the Foundation was revitalised. The Victor Churchill Building by Matthew Lloyd Architects added seven bedrooms next to the chapel. Founding Partner Matthew Lloyd states, “This new building sensitively relates to the chapel itself and also to the adjoining 1950s extension on its west side, both in height and materiality.” Jonathan Dinnewell of Smallwood Architects reordered the chapel, increasing natural light into its interior. Following renovations and extensions by PRP Architects, there are now nine meeting rooms from the intimate Queen Philippa Room (maximum two guests) to the Queen Elizabeth Conference Room (maximum 70 guests).

Concerts, residential retreats, supper clubs and reflection days led by the likes of Muthuraj Swamy (author of the Archbishop of Canterbury’s 2019 Lent Book Reconciliation) and Pádraig Ó Tuama (poet, theologian and former leader of the Corrymeela Community, Ireland’s oldest peace and reconciliation organisation) fill the calendar of St Katharine’s. Today, Langley House Trust is recording a Christmas carol service in the chapel.

Dee Spurdle, Head of Fundraising and Communication, relates, “Langley House Trust is a Christian charity which provides accommodation based support to people at risk of offending or who have committed offences.” Chief Executive Tracy Wild, who is speaking at the carol service, adds, “Our vision is of a crime free society where no one is unfairly disadvantaged or excluded because of their past. We’ve been going for 62 years now.” As for the carol service, required to be online this year due to a pandemic: “We’ve gone from 15 carol services to one online. But when there is a blocked road ahead, you need to turn left or right. We are hoping that more people will be able to watch the carol service online. We want to increase awareness of our charity and also encourage churches to watch it.”

The Reverend Andy Rider, National Chaplain of Langley House Trust, reveals, “Langley’s Resident Worship Leader Luke Hamlyn and singer Hannah Ravenor, who also works for Langley as well as being Marketing and Engagement Manager at the charity Clean Sheet, will lead the band in ‘Joy To The World’. They are joined by the band including the violinist from Christ Church Spitalfields, Amy Mulholland. This carol will be a feature of the service amongst lots of others.” As for his message, “I am speaking on Colossians 1 – a very early hymn. Maybe we should call it the first ever Christmas carol!” Another recognised New Testament hymn which would have been sung in Greek is 1 Timothy 3:16, “He appeared in the flesh, was vindicated by the Spirit, was seen by angels, was preached among the nations, was believed on in the world, was taken up in glory.”

“Contemplation occurs naturally when we behold something of beauty. In the presence of beauty, understanding becomes suspended and analysis futile. Contemplative prayer is the act of beholding Jesus and becoming ‘lost in wonder, love and praise’.” So scribes Andy in his 2009 book Three Holy Habits. The Royal Foundation of St Katharine is the ultimate sanctuary of contemplation in London. There are no equals. And so a golden leaf strewn autumnal afternoon of how it was and how it is and how it will be can sometimes­ last forever. “You are never more than a moment away from God,” muses Reverend Rider. That moment is now. Enjoy the carol service.

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Bibendum Oyster Bar + Restaurant South Kensington London

Le Confinement Est Fini

Go on, flick through the pages of 1990s House and Garden magazines and eventually you’ll come across a double page spread of the last and late Knight of Glin; his wife Madam FitzGerald, Min Hogg’s second best friend; and their eldest daughter Catherine, the garden designer, all tucking into fruits de mer at Bibendum Oyster Bar. Desmond has his starched linen napkin tucked right into his shirt collar. Standards, and all that. Did they gasp at the carpaccio of Scottish scallop and smoked pike roe? Or what about the black tiger prawns? Even more aptly, did they devour Irish oysters washed down with some dry and aromatic Viognier? “Our shells clacked on the plates,” wrote Seamus Heaney in his poem Oysters, “They lay on their bed of ice.”

All that was then and all this is now. Brill on the bone and crab quiche and other brilliant things are served up… and suddenly… with a showering of ado and a flowering of aplomb the Honourable Ola de la Fontaine rocks up totally on form sporting an emblazoned sports jacket. How terribly happening. Blazing blazers are a thing at Bibendum. For a moment, there’s some momentous momentary recall of a nebulous first floor restaurant lunch in May 2003 just when this place was ablaze with blazers. Ola’s now in top gear as always, revving it up, formulating plans and solving equations. She might resemble Charlotte Rampling’s younger much better looking sister, but Ola is more than a mere actress: she’s a qualified connoisseur of fabulousness with a diploma in decadence, a bachelor in brilliance and a masters in magnificence. And she just so happens to be South Ken’s top perfumier.

What Ola wants Ola gets: Gillardeau oysters. “Draycott Avenue and all around here has such a local vibe,” she shares. “Everybody knows everyone. Thank you for asking.” It helps of course that her local is double Michelin starred. Lunch is dreamy – “Laying down a perfect memory,” to quote Seamus Heaney again in his poem Oysters. Sometimes it just feels like Bibendum has been the fulcrum, the axis, the crucible of South Kensington life for at least the last two decades. Michelin building turned Michelin restaurant. Now that’s not so much a lost story arc as a full 360 degree circle. It’s all about Head Chef Claude Bosi’s 2020 French cuisine living up to building designer François Espinasse’s 1905 French architecture. “Did you know,” seeks Ola, “that the 18th century diarist Samuel Pepys fed his cat Hodge with oysters?” ­

Terence Conran who currently owns Bibendum took full control of the interiors,” completes Ola. “The Michelin man stained glass windows upstairs inspired the design of the snug chairs, the wall lights, the butter dishes, the salt and pepper pots, so much!” No fewer than 34 vibrant external tile panels depict car racing at its most glamourous early 20th century prime. This is Art Nouveau meets Art Deco meets art on a plate meets art on a date. But did Desmond FitzGerald all those years ago, tucking into his seafood, realise he was sitting in a former tyre fitting bay? Who knows. All that was then and all that will be is yet to come. Now for the new normalcy: an alfresco vernissage, the unveiling of the Koestler Awards 2020 for arts in criminal justice settings, is on standby at Southbank. Vroom vroom, time to get that car and burn some rubber!

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Littlehampton West Sussex + Two

The Roman Riviera

Photography is playing with light. Writing is playing with words. High 10! Here goes. Littlehampton as you’ve never seen or read about it before. England’s most haunted town. Riddled! Yes, it’s completely overrun with ghosts and ghouls and spooks and spirits and things that go bump in the night! And that’s not just reports from the manager about upstairs antics at the Arun View. The riverside pub has one first floor guest bedroom and another three on the second floor. Access is cosily squeezed behind the bar itself and up the narrow stairs. The ground floor bar and terrace are where it all happens during Thursday afterhours. Locals and blow-ins groove the night away to the Willie Austen Band.

Beside Arun View is The Steam Packet. Littlehampton Ghost Tour guide Heather Robins notes, “For more than 150 years The Steam Packet pub has stood on the River Road, Littlehampton, just by the historic footbridge across the Arun. The pub was named after the steamboat service that ran from Littlehampton to Honfleur in Normandy from 1863 to 1882.”

In the town centre, a sign on one of its windows competitively proclaims The Dolphin to be “The most haunted pub in Littlehampton”. Heather elaborates, “A pub of this name has been on this site since 1736. The Dolphin has the largest and deepest cellars of the three connected pubs and was used, not only by smugglers, but also as a mortuary for the victims of World War II bombings in Pier Road, when a row of houses was flattened, inflicting many casualties.” The Crown is just about the only pub that hasn’t had recent sightings according to the guide, “Although smugglers’ tunnels linked The Crown to The Dolphin and The White Hart, the current manager has no knowledge of less earthbound spirits inhabiting this establishment.”

As for The White Hart on Surrey Street, she comments, ““Back in the 1700s, this pub was the first Dolphin on Surrey Street. After an argument, the landlord’s brother opened a second pub called The Dolphin, which is now on the corner of Surrey Street and High Street. This original Dolphin has changed its name several times over the centuries. It may have been The White Swan, which led to The Cob and Pen, before becoming The White Hart. In the present bar, you can see a capped off glass opening to the well and tunnels.”

“Smuggling in the 18th and 19th centuries was common practice – a black economy that played a major role in everyday life, employing more than 40,000 people,” suggests Heather. “The smugglers of Kent and Sussex were the leaders in the field and it is no surprise that Littlehampton, with its gently sloping shoreline, was an active smuggling centre. Free from rocky headlands, it was easy to load and unload shallow boats and smuggle goods across the Downs or up the River Arun and on to London via the Wey and Arun Canal that linked to the Thames. Customs records from 1736 show that 229 smuggling boats were confiscated on the Sussex coast, with 200,000 gallons of brandy seized.”

Famously, Lord Byron holidayed in Littlehampton in his 18th summer. He stayed at The Dolphin in 1806 although whether or not he had ghostly experiences goes unrecorded. There’s still plenty of action in the town for the living though. Littlehampton Arts Trail is in its eighth year. The Trail features 16 venues matching artists with conducive environments. Beach Road Gallery has a joint show of Trevor Fryer and Pete Beal’s landscape photography. More photography art, this time by Shirley Bloomfield-Davies, is on show at Mewsbrook Park Café. Local Rad Radburn’s fine art is displayed at Arcade Lounge Pizza Bar and Grill.

Ah, Arcade Lounge. Such a find! A little piece of East Berlin in West Sussex. Owner Saty Dhsingh, who comes from nearby Worthing-on -Sea relates, “For Arcade Lounge, I wanted it to be something different. A small bit of Brighton! I have got lots of finds from car boot sales. My father made the benches from pieces I got from Oktoberfest. As for the Arts Trail, there are actually four art galleries in the town centre as well as all the other venues.” Littlehampton Fish and Chips – the best in town – is another Dhsingh family business.

“You can enjoy homemade pizzas, burgers and tapas here,” confirms Saty, soaking in the rays in the adjoining courtyard. “We’re in the trendiest suntrap in Littlehampton. Arcade Lounge is all about unwinding and relaxing. Littlehampton has a lot of character. The combination of beach and river and friendly people is what makes it really unique. Nearby historic ­Arundel is another great town to visit.” Blame the unseasonably sunny weather. Maybe it’s all those shady verandahs. Or the bohemian atmosphere. Or the locals’ fascinating tales. Alright, possibly it’s down to the non London measures of Pinot. But there’s something of Savannah, Georgia, in the air. Littlehampton. Beyond chilled.

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Littlehampton West Sussex + River Arun

She Walks in Beauty

Like a Byronic “night of cloudless climes and starry skies” Littlehampton is an ironic sleepless beauty of brightness and darkness imbued with nameless grace. “We are not self made,” says Sierra Leonean Lebanese model Yasmin Jamaal. “We are life made. What we do with our life experiences creates the person we are.” Yasmin tells us, “As a believer, I would say God does not give you a burden you cannot carry and angels really do exist in human form.” In the words of Lindy Guinness, the last Marchioness of Dufferin and Ava, “How very charming!”

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Littlehampton West Sussex + One

As Forcefully Uplifting as the Countermelodic Opening Bars of Allegro Energico 1st Movement Symphony 1 by Victor Hely-Hitchinson and It’s Not Even Christmas Yet

It’s the town on everyone’s luscious lips. Londoner Astrid Bray says “you bring the party with you”. Everything is very grand and very mad. “It’s all about the third fermentation” notes Jan Konetzki Director of Wine at Four Seasons London. Global Director of Rare Champagne Parisienne Maud Rabin observes “everybody is saying c’est la vie: this is destiny. Always in a positive way”. Every frame is a still life drama. And like Montenegro’s Kotor, the Christmas decs are perennial. We’re only getting started.

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Architecture People

Bishop of London + Fulham Palace London

The Forgiveness of Things

“The Bishop of London lived at Fulham for almost 1,300 years,” explains the current Bishop, “but by 1973 times had changed and it was no longer appropriate or convenient for the Bishop to live in a Palace. The Church Commission initially let the site on a long lease to Hammersmith and Fulham Council. Today, Fulham Palace Trust manages the site.”

The Bishop adds, “I live in a more modest house close to St Paul’s Cathedral, the mother church of the Diocese of London. However, I watch the work of Fulham Palace Trust with interest and admiration as it restores the Palace and garden to reveal its long and fascinating history. The work to ensure that this beautiful historic site is accessible to Londoners and visitors from further afield is very important to me, as we all search for meaning and belong­­­ing in a rapidly changing world.”

The Right Reverend and Right Honourable Dame Sarah Mullaly is the first female Bishop of London. She left her previous post as Chief Nursing Officer of England in 2004 to pursue full time ministry. Her take on this is: “I am often asked what it has been like to have had two careers, first in the National Health Service and now in the Church. I prefer to think that I have always had one vocation: to follow Jesus Christ, to know him and to make him known, always seeking to live with compassion in the service of others, whether as a nurse, a priest or a bishop.”

Bishop Sarah is also a Lord Spiritual in the House of Lords and a Member of the Privy Council. She concludes, “The Trust’s 2017 to 2019 restoration has transformed the iconic Tudor court buildings into a new museum, repaired the 15th century brickwork, reintroduced historic species of plants in the garden and opened up the site with new and improved paths.”

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St Mary’s Cathedral + Crypt Hamburg

Domkirche St Marien Kindertagesheim

In the second half of the 19th century, the population of Hamburg increased to include an influx of Roman Catholics, thanks to industrialisation and port expansion. Paderborn based architect Arnold Güldenpfennig was commissioned to design a new Roman Catholic parish church in the red brick neo Romanesque vein. The Church of St Mary was consecrated by Bernhard Höting, Bishop of Osnabrüch, on 28 June 1893. A dramatic pair of twin spires pierce the sky over the St Georg quarter. A century or so later, on 7 January 1995, the Archdiocese of Hamburg was reinstated and Pope John Paul II elevated the Church of St Mary to cathedral status.

Ludwig Averkamp was the first Roman Catholic Archbishop of Hamburg (1995 to 2002) of the 20th and 21st centuries. The cathedral underwent a significant rebuilding project (2007 to 2008) before being reopened by the then Archbishop of Hamburg, Werner Thissen (2003 to 2014). Since 2015, the Roman Catholic Archbishop of Hamburg has been Stefan Hesse. Aged 54, he is the youngest archbishop in Germany and is known for his forthright messages. He recently gave his slant on the immigration debate:­ “Racism and xenophobia are in contradiction to the message of Jesus.”

Hamburg based Architektur + Stadtplanung Ewers Dörnen restored the main building and added a single storey with basement extension to the southeast. A glazed cloister enclosing a garden leads to stairs descending into a crypt. A vaulted chapel opens into the columbarium. The pebble floored, gold ceilinged, geometric metal walled, exposed bricked space was designed by Klodwig + Partners of Münster. It is an extraordinary interior of great tranquillity.

Another 21st century intervention is Architektur + Stadtplanung Ewers Dörnen’s minimalist altar which is fashioned from a single sandy limestone block to represent unity. The table surface rests on three supports representing the Trinity. The limestone, all 3.5 tonnes of it, came from Vilhonneur in France. The post war stained glass windows were created by Johannes Schreiter. Inspired by the Old Testament book of Isaiah, the artist’s abstract compositions in colours ranging from white and pale grey to yellow and brown to tones of blue reflects messages from the prophet.

The Munich art school Mayer’sche Hofkunstanstalt was commissioned in the 1940s to create a mosaic over the apse. The glittering ceiling is based on the apse mosaic of Santa Maria Maggiore Church in Rome, created by Jacopo Torritti in 1295. Hanging in front of the apse is Heinz Gerhard-Bücker’s 1993 cross of 4,000 year old moor oak. On the front is a gilded Corpus Christi; on the back, a gilded lamb. St Mary’s Cathedral is a striking amalgamation of sturdy 19th century architecture and even sturdier 21st century architecture with sturdy 20th century design thrown in for good measure.

Parish Priest Monsignor Peter Mies greets visitors to the cathedral: “A warm welcome to St Marien Dom – how good that you’re here! The St Georg district is one of the Hanseatic City’s most vibrant quarters. It’s an area of the city offering light and shade: original restaurants, creative advertising agencies and a teeming multicultural backcloth are as much part of this as homelessness, prostitution and social tensions. Amidst all this stands St Marien Dom, the cathedral church of the Archbishopric of Hamburg. That the Dom should be located precisely here is a helpful sign; so too is its close proximity to all sorts and conditions of people cherishing such a variety of hopes and cares, life plans and world views. It’s precisely for them that St Marien Dom aims to be here, as an oasis offering calm, culture and fruitful encounters.

The radiant power of St Marien Dom extends far beyond its precincts. As the seat of the Bishop it is of significance throughout the Archbishopric of Hamburg, covering not just the Hanseatic City, but also Schleswig-Holstein and Mecklenburg. Roman Catholics may form a minority here, constituting around 10 percent of the population. Yet with their numerous institutions and the dedication of many full time and honorary staff, they play a crucial part in the life of northern Germany – in just the same way as the Dom stands for the area. Whatever may have brought you to us: you are most warmly welcome!”

Next door is a multidenominational Christian giftshop called Geistreich. It sells a pack of three napkin designs, each one embellished with the music to several verses of “Geh Aus Mein Herz” (“Go Out My Heart”). It is a congregation exhausting 14 verses in length. The words by Paul Gerhardt (1607 to 1676) were later set to a melody by Augustin Harder (1775 to 1813). A sacred summer song, Geh Aus Mein Herz forms part of the Lutheran hymnal.

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Petite Tortue Hamburg + Pascal Bechét

Untold Story

Well of course we would end up at the launch of a smart French brasserie. On a rainy windswept evening, there is nowhere better to be in Germany than Petit Tortue on Neuer Wall. We’re the toast of town, the icing on the gâteau. Fresh meat among the Hamburgers so to speak. Tchin-tchin! The little sister of Hotel Tortue, the brasserie shares the same tortoise inspiration. “It’s about taking life at a relaxed pace,” owner Pascal Bechét tells us over a leisurely flow of tartines à la Française, plats simples, petits plaisirs savoureux, petits plaisirs doux and Perrier-Jouët. If this is relaxed, we’re liking it. Very Paris, very Hamburg, very us.

“There are about 10 French restaurants in Hamburg,” confirms Monsieur Bechét. “But none as close to the canals as this one.” C’est merveilleuse but we want to know more about la tortue. “Oh là là! When Hamburg was a département of Paris in the early 19th century, none other than Napoléon stayed in this historic quarter. He and his companions brought with them the idea of that world famous savoir vivre. The delightful art of living without hurrying. And which creature is extraordinarily good at this? Et voilà! La tortue. It reminds us to take our time, especially when we don’t have any.” La nuit ne fait que commencer.

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The Cathedral + Metropolitical Church of Christ at Canterbury Kent

All That is Good

The Reverend Andy Rider is Stepney Dean of Mission and Area Dean of Tower Hamlets. He is also Chaplain at Langley House Trust, a charity that helps ex offenders. Previously, Andy was Rector of Christ Church Spitalfields for 17 years. It is one of East London’s most prominent places of worship. During his time at Christ Church, in between priestly duties, he oversaw the revivification of the historic ecclesiastical property portfolio of the parish. In particular, the Grade I listed crypt was given a new lease of life as a café, community and church space. For the first time in its history, every cubic metre of Nicholas Hawksmoor’s architectural masterpiece was put to active use. Not to mention airspace: the church band has been known to play on the roof of the nave. Reverend Rider is also a published writer of books on Christian living. So who better to talk to about Canterbury?

“What makes Canterbury special to the Anglican Church? Well, it has been the home of the Archbishop for years,” he confirms. “His leadership of not just the Church of England but also the Anglican Communion ensures that Canterbury is in the heart and prayers of pretty much every Anglican believer. Although we are seeing a rise in pilgrimage, Canterbury is probably for most a virtual pilgrimage from time to time. It was key to the spread of the Gospel north through Great Britain, meeting the Celtic Christians who were bringing the Gospel south from such places as Iona and Lindisfarne.”

The earliest remnants in Canterbury of this ancient advancement of Christianity are found at St Augustine’s Abbey, just beyond the city walls. “Augustine… built a monastery not far from the city to the eastward, in which, by his advice, Ethelbert erected from the foundation the church of the blessed Apostles, Peter and Paul, and enriched it with divers [sic] gifts; wherein the bodies of the same Augustine, and of all of the Bishops of Canterbury, and of the Kings of Kent, might be buried.” So records The Venerable Bede circa 730.

Augustine was a Benedictine monk who became the first Archbishop of Canterbury in 597. His mission to convert the Kentish King Ethelbert to Christianity was immediately successful (the Frankish Queen Bertha was already a Christian). The royal couple provided land for the abbey which would become a centre of spiritual and cultural activity for almost a millennium. That is, until the dissolution of the monasteries under King Henry VIII. St Augustine’s was dissolved in 1538 and transformed into a palace. Anne of Cleves, Henry’s fourth wife, stayed one night on her way from Deal to London. In a gorgeous story arc, the site would later become a missionary college for 99 years, opening in 1848. Acclaimed Gothic Revival architect William Butterworth built the split flint faced and red roofed St Augustine’s College amidst the ruins. A freestone library was erected over the abbot’s hall foundations. The King’s School now occupies the intact buildings.

If Kent is the Garden of England, Canterbury is the Temple. The walled city and its environs really don’t disappoint. Charles Dickens was a fan. The former Old King’s School Shop, dated 1647, a teetering tiered tower of architectural Jenga jettying over Palace Street commemorates the writer with an 1849 quote across its façade, “… a very old house bulging out over the road… leaning forward, trying to see who was passing on the narrow pavement below…” The Chaucer Bookshop on Beer Cart Lane is called after the most famous Canterbury literary connection. Street names – The Dane John Mound, Orange Street, Lady Wootton’s Green – suggest intriguing times of old.

The tight urban fabric of the city knits so tightly round the cathedral that it can only be entered through the Precincts which in turn can only be entered via four gates: Christ Church, Mint Yard, Postern and Quenin. Stretching the material metaphor, the cathedral itself is a multilayered multicoloured multitextured fabric of utter fabulousness. Benedictine cloisters; Romanesque crypts; Perpendicular nave; Gothic quire; Middle Age pulpitum crossing; Arts and Crafts stained glass; even a 12th century martyrdom: Canterbury Cathedral has it all. Statues of The Queen and Prince Philip are incorporated into the west front. But the best statue award must go to the tomb of Edward Plantagenet the Black Prince who died in 1376. The Prince’s canine companion is immortalised in marble, resting at his master’s feet.

The grandest house in the Cathedral Precincts is, predictably, the Archbishop’s Palace. Archbishop Lanfranc built a large palace to the northwest of the cathedral in circa 1086 which was remodelled throughout medieval times. Archbishops of Canterbury ignored this residence until Archbishop Frederick Temple’s succession in 1896. He sold the Archbishop’s Palace in Addington, Surrey, and ordered the rebuilding of a palace on the historic Canterbury site. William Douglas Caröe, a prolific designer of churches, was commissioned. The architect’s T shaped knapped flint and random stone dressed with Bath stone building is summed up in John Newman’s Pevsner Guide to Northeast and East Kent, 2013, “scrupulously retained medieval features woven into a rambling, fancifully detailed Free Tudor mansion completed in 1901.”

And so to the Mother Church of the Worldwide Anglican Communion and Seat of the Archbishop of Canterbury on the 15th Sunday after Trinity. The organ thunders with visceral fervour while five clergy take their seats around the Anglican Communion table. The Dean, The Very Reverend Dr Robert Willis, welcomes the congregation to the service which is The Oratory Mass set by Matthew Martin. The north side of the girls’ choir sings The Motet, a 14th century Eucharistic hymn set to music by Edward Elgar. Their angelic voices reverberate across the nave and down the centuries. Prayers are offered up for the Apostolic Church of South Sudan, Archbishop Justin, Bishop Tim of Lambeth and Bishop Rose of Dover.

It’s the last warm day of summer and soft sun streams across the hard stone floor. Pure fragrant blended incense fills the atmosphere. Vice Dean, The Reverend Andrew Dodd, preaches on the parable of the vineyard labourers’ wages and Jonah’s grumbling at God changing His mind. Unfairness is the theme. He reflects on the American Supreme Court Justice Ruth Bader Ginsburg who recently died. “She was an unlikely hero. ‘RBG’ as she was known as confronted discrimination and injustice in an extremely sensitive climate.” The Vice Dean concludes, “In God’s economy everyone is of immeasurable divine value.” The service ends with the Dismissal and the congregation pour out into a blaze of sunshine.

Andy’s spiritual journey began a long way from Canterbury or even East London. “I was sent to church as a child by non church going parents. The local church had a serious Sunday school, which I left at about age 12 when I fell out with the leader. Seven years later and having had a few scrapes with the law, gaining a criminal record, I met a couple of Christians who spoke to me about forgiveness and God’s will for our lives. This, along with my work with mentally disabled folks got me asking all sorts of questions about life and humanity. Then, playing music in a band with a Christian I began to see who God might be and who He might want me to be. So one night on an overnight bus to Blackpool on the way to some massage training – I wanted to be an osteopath – I gave my life to Jesus in Digbeth Bus Station.”

“I was ordained in 1990,” Andy relates. His first Curacy brought him south to Chatham in Kent. “I next led the All Souls Clubhouse church and community centre in London’s West End for a decade. The Bishop of London then asked me to consider the Spitalfields post. He said it needed a ‘big man’ to do the job… I sensed God’s call in his invitation and without seeing inside the church building or rectory, I accepted the post in 2003.” Under Andy’s leadership, the congregation greatly grew exponentially in numbers and strength. Ministry in the community is especially important at Christ Church: looking upwards and looking outwards.

“My new role,” Andy explains, “as Dean of Mission is principally helping churches to explore and step further into church health, growth and mission. Working with the Bishop of Stepney across three London Boroughs and some 60 churches, we need to halt the decline in Church of England attendance and – to quote a song lyric – ‘Turn this ship around’! This needs strategy, structural changes, leadership development and a new hunger across the church.” The Reverend Rider gives personal advice in his 2018 book Life is For Giving: “Your current reality will shape you for whatever is next – because God meets us where we are and wastes nothing. Your task is to read and explore your present reality, and so to see it as God sees it.”

Turn of last century author Frank William Boreham wrote over 40 books on Christianity with charming titles such as A Bunch of Everlastings, A Handful of Stars, Mountains in the Mist, Shadows on the Wall, Wisps of Wildfire. In 1948 he published My Pilgrimage An Autobiography. The author includes his testimony: “Only once in the history of this little world did a man, crucified at 33, find that He had brought His tremendous life work to absolute perfection. ‘It is finished!’ He cried. No broken column marks His sepulchre. And yet even He spoke frequently of the sublime tasks that awaited Him in the world to which He journeyed. Other people may do as they will; but, for myself, I am going to rest all my insufficiency and inefficiency on His finished and perfect Saviourhood leaving Him to complete my incompleteness in the world in which He reigns supreme.”

In his autobiography he recalls his mother telling him about her first visit as a teenager to Canterbury Cathedral. Frank’s mother arranged to go with her cousin but she didn’t turn up. An elderly gentleman approached her: “Excuse me but whilst I was chatting with the friend who has just left me, I could not help noticing that you were eagerly watching for somebody who, evidently, has not arrived. Were you thinking of inspecting the Cathedral? I wonder if you would very kindly allow me to show you round. I am deeply attached to the place and happen to know something of its story.”

Frank’s mother acquiesced and was soon taken by the stranger’s silver tongued eloquence. The teenager was treated to an exhaustive tour of the cathedral and its history, travelling back in time from Huguenot refugees to Geoffrey Chaucer to St Thomas Becket and ending with St Augustine. Or should that be beginning? As the tour drew to a close, the stranger said, “It would be very interesting to me if we might exchange cards.” Frank’s mother didn’t have one but she accepted the stranger’s card without a second glance or first for that matter. Only on the train home to Tunbridge Wells did she look at it. The card read “Charles Dickens”.

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Architects Architecture Art Design Fashion Luxury People

Mary Martin London + The Return Collection Fashion Shoot Foreign + Commonwealth Office Westminster London

Cinematographic Lives

No justice no fashion. How many people does it take to do a Mary Martin London fashion shoot? Counting. A host. A fashion designer. A fashion photographer. A fashion photographer’s assistant. A set photographer. A videographer. A lighting technician. A stylist. Two makeup artists. Two hairdressers. One headdress stylist. Four models. A ballerina. A chauffeur. A muse. That’ll be 20. Oh plus five security. Make that 25. Big wigs plus fashion’s finest. Everyone authentically leading their best London lives up a level. Forgetting fiction, correcting the truth. A September Sunday. No just as fashion.

On location at the Foreign and Commonwealth Office Westminster. By 9am the collective creative energy is palpable. Ballerina Omozefe is practising her moves while classical music reverberates off the marble Durbar Court. “I’m dazzled by this space. It’s amazing!” She shares, “I started learning ballet aged four. I’m five foot six inches but I’ve an unusually long inside leg measurement of 33 inches. Resilience is so important for the amount of training you need to do to be successful. You need the ability to endure pain. It’s constant training – like being an athlete. Odette and Odile in Swan Lake is every ballet dancer’s dream role!”

“This is like a film set! The lighting is lovely!” exclaims leading photographer Monika Schaible upon seeing the Grand Staircase. More exclamations follow when half Lebanese half Sierra Leonean model Yasmin Jamaal surprises in a regal black and crimson extravaganza. “TC! Totally couture!” Yasmin responds, “I feel like a queen.” Cecil Beaton said of Tallulah Bankhead, “Her entrance is always dramatic.” Yasmin, anyone? Not content with setting the catwalks alight, Yasmin has hit the silver screen. She appears in the new James Bond film No Time To Die. Her summary is: “It’s a really exciting movie. There are a lot of stunts. Working with Daniel Craig was so interesting.”

Leila Samati is another international model. Originally from the Algarve in Portugal, she came to study International Business in London. “My favourite models are Naomi Campbell and Adriana Lima who modelled for Victoria’s Secret.” Leila can add the “super” prefix to her job title: she’s been crowned Miss World, Miss Africa Great Britain and Miss Guinea-Bissau. “Mary’s dresses have amazing details,” she observes. “You can tell the hard work that goes into pieces she produces. They’re so elegant.”

The third female model on today’s shoot is Londoner Kiki Busari. “This is my first shoot with Mary. She’s so creative. I’m loving the whole period theme. It’s like an historic costume drama!” Kiki adds, “Mary is the hardest working designer I know.” She can’t wait to show her young sons Saint and Angel the stills. Freelance stylist Joel Kerroy is here “to make everyone and everything camera ready”. When not perfecting shoots, Joel puts together look books for the likes of Jeff Banks and Burberry. He thinks, “Mary’s clothes are so elegant and extravagant. They’re eleganza!”

Fellow Londoner Hassan Reese is the male model. At 1.93 centimetres tall he;s a body double for runner Usain Bolt. It’s really a cast of Hassan that is used for the athlete’s body in Madame Tussaud. He also owns Dam Model Management. “I love modelling Mary’s clothes.” He last starred in her Blood Sweat and Tears Collection show. Mary collaborated with headdress creator Elisha Griffith. Her company is Blossom Concepts. “Mary has taught me so much,” she relates. “With no Notting Hill Carnival this year I’ve enjoyed learning new skills.”

Mary reveals, “The Georgian fashion shoot that my muse Stuart Blakley modelled in last year filled me with inspiration for the period theme. The Return Collection is Marie Antoinette meets tribal meets avant garde.” Unbelievably the outfits showcasing the collection at this shoot were all designed and made by the fashion artist in just under three weeks. By early afternoon, the shoot is in full swing. There’s nowhere grander or more entrenched with story than the Foreign and Commonwealth Office and there are no grander clothes more entrenched with story than Mary Martin London.

Memorable fashion moments are fleetingly created and permanently captured. Omozefe’s tippy toed croisé,  plié and grand jeté. Yasmin working a dress of straw. Leila balancing a gargantuan Georgian wig on her head. Hassan strutting his stuff. Kiki taking a selfie with a Victorian bust. And the final memorable scene: the alternative royal family proudly descending the Grand Staircase illuminated by late afternoon sunlight. It’s as if Armand Constant Milicourt-Lefebre’s portraits of Emperor Napoleon III and Empress Eugénie have sprung to life and – joined by two Dauphines – been augmented by greater beauty, exquisiteness, relevance, and contemporaneity. High above in the golden coffered dome an inscription glitters: “Praise Thee O God Yea Let All The People Praise Thee O Let The Nations Rejoice And Be Glad”. Far below, everyone is present. Everyone is on point. Everyone is in awe. By 5pm it’s a wrap. Time to party.

“What an anointing to be filled with God’s joy!” rejoices Mary. “It gives me great pleasure to create. It’s emotional. I’ve done fashion shows and shoots all over the world. I’ve been to Ghana, South Africa, south of France, you name it, I’ve been to a lot of places. I express myself in my clothes with my moods: happy, sad, crazy, kooky, whatever it is you know I just express it on my clothes. It’s just a natural thing for me. A lot of people seem to love the eccentric clothes I make and you know I love showing the clothes and I love the catwalk. But I’ve never shown at the Foreign and Commonwealth Office before. What a privilege. This is a first! It’s all exciting for me! I’m on point!” Cecil Beaton said of Tallulah Bankhead, “Her vitality is dynamic; she can sustain fever pitch ad finitum.” Mary, anyone? At the wrap party everyone agrees this is the start of something big. Really big. First comes the Black History Month exhibition in Foreign and Commonwealth Office. And there’s more, much more to come. Justice fashion.

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Fordwich Arms + Fordwich Town Hall Kent

Correct London Grammar

There’s nothing wrong with a pint of cider and scampi fries in your local. But we’d prefer the pescatarian tasting menu with Berry Brothers and Rudd of St James’s­­ wine thank you. Fordwich, eight kilometres north of Pett Bottom in Kent, is apparently England’s smallest town. Fordwich Arms is a gorgeous 1930s mock Tudor brick without half timber building. It looks like one of Walter George Tarrant’s houses on St George’s Hill Estate, Weybridge, Surrey. A curvilinear gable over the entrance is a welcome whimsical touch. The pub is opposite the 1540s real Tudor brick with half timber Fordwich Town Hall, apparently England’s smallest and oldest town hall in use. The Norman Church of St Mary behind the pub walled garden complements this tranquil grouping.

We’re lunching in the dining room accessed through the main bar. Cast iron framed windows are open to the walled garden on one side and the riverside terrace on the other. In good ol’ Tudorbethan style, the room is linen fold panelled with a stone fireplace. Fashionable visible bulb lights are the only wall decoration. The dining room is simply furnished: Ercol chairs and matching table tops balanced on cast iron legs on a timber floor. No boozer clut here: not a Toby jug or faded photograph of the high street in sight.

The unmistakeable cosmopolitan air (and not just us) is no coincidence. Londoners run the show. Chef Patron Daniel Smith worked for Jason Atherton’s group and then The Clove Club. His wife, Pastry Chef Owner Natasha, worked at Chapter One in Locksbottom, Kent, and latterly at Rocket events company in London. The Smiths are joined by Sommelier Guy Palmer-Brown. They’re all the same age and ridiculously young: 28 years old. Fordwich Arms is celebrating its second birthday. Daniel recalls his 17th birthday dinner at The Fact Duck in Bray, Berkshire, as being a directional moment towards his chosen career.

The serving staff possess encyclopaedic knowledge of each course and micro course. It’s the catering version of old masters dealing – they’re heavy on provenance. Just as well the pub backs onto the Great Stour River and the north and east coasts of Kent are five kilometres and 17 kilometres respectively away as all the savoury courses are a hymn to seafood. Getting even more local, their bread and butter is churned on site. A kitchen favourite is soda bread (very Northern Irish!) but we’re served rosemary focaccia with garlic cloves as well as wheaten bread made from the Chef’s mother’s recipe. Mrs Smith senior is from County Wexford.

After a trio of prettily colour coordinated amuse bouches come five fishy dishes which stretch that provenance the full length of this island. Confit chalk stream trout, oyster, pea and gooseberry sets the pace. Isle of Wight tomato, lemon verbena and Cornish caviar gathers knots. Roasted Orkney scallop, brown butter, applied and spiced scallop sauce makes waves. South coast brill and warm tartare sauce is a splash of panache. Line caught hake, celeriac, young leek and Madeira completes the culinary coastal voyage. Hit after hit of retronasal olfaction and satisfaction. Local and national produce; capital style and British brilliance. The plates themselves have varying textures and tonality – very Michelin. The Merchant’s White is just what a lover should be: rich and full bodied.

Top London chefs love their signature dishes (think County Antrim born Clare Smyth and her potato) and Daniel is no exception. While he manages to sneak in a perfectly formed potato mound side dish, it’s the Snickers bar pudding that’s his pièce de résistance. Delicately deconstructed then rigorously reconstructed as a sponge log with its skin of hard chocolate removed and ingredients (peanuts and caramel) placed on top, it’s gastronomy’s answer to the Centre Pompidou in Paris. Gold leaf is a nice reference to chocolate box wrapping.

The primacy effect (start of a meal) and regency effect (end of a meal) tend to stick in our minds. Not so, this lunch. Every morsel is memorable. We’ve eulogised for seven paragraphs now on the glories of Fordwich Arms; the Michelin Guide (the pub gobbled up a star almost instantly) is more succinct: “High quality cooking, worth a stop!” It’s a long stop for us: we reluctantly depart at 4.30pm as our car pulls up outside. A golden retriever keeps watch at the entrance. There mightn’t be a beer stained carpet but Fordwich Arms has kept one pub tradition going: it’s dog friendly.

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Architects Architecture Art Design Fashion Luxury People

Mary Martin London + The Return Collection + Foreign + Commonwealth Office Westminster London

Power

The Foreign and Commonwealth Office London © Lavender's Blue Stuart Blakley

“You Ain’t Seen Nothin’ Yet” croons Lisa-Marie Presley. You ain’t. And you won’t. Not yet. For Mary Martin London is busy sewing up a storm for her forthcoming fashion feat: The Return Collection. This comes hot and heavy on the haute heels of her last extravaganza Blood Sweat and Tears. This time it really is all about power dressing. And the corridors of power are about to be torn up by the thrust and throttle no room for boondoggle of a Mary Martin London show. “If our myths and truths are only another exotic blossoming, the free play of possibility,” writes Marilynne Robinson in The Death of Adam, “then they are fully as real and as worthy of respect as anything else.”

Rooftop The Foreign and Commonwealth Office London © Lavender's Blue Stuart Blakley

Show. Not merely catwalk, for Mary will as ever be mixing decks in between directing the lighting, sound, photography, choreography, and always, laughter. There is really only one space that can hold its own for her solo show. Enter Durbar Court. “I like that the heads of the East India Company leaders will be looking down on my catwalk!” Mary howls laughing. “History and all that!” The Court was first used in 1867 for a reception of the Sultan of Turkey. King Edward VII threw his Coronation party here in 1902. Ms Robinson again, “At best, our understanding of any historical moment is significantly wrong, and this should come as no surprise, since we have little grasp of any present moment.” More recently, President Trump gave a speech here; Victoria Beckham showed last summer; Vivienne Westwood before that; but this is a first: a black female designer holding court in Durbar Court.

Downing Street Sign The Foreign and Commonwealth Office London © Lavender's Blue Stuart Blakley

Staircase The Foreign and Commonwealth Office London © Lavender's Blue Stuart Blakley

Statue The Foreign and Commonwealth Office London © Lavender's Blue Stuart Blakley

Muses' Stair The Foreign and Commonwealth Office London © Lavender's Blue Stuart Blakley

Empress Eugenie Muses' Stair The Foreign and Commonwealth Office London © Lavender's Blue Stuart Blakley

Durbar Court The Foreign and Commonwealth Office London © Lavender's Blue Stuart Blakley

Durbar Court Roof The Foreign and Commonwealth Office London © Lavender's Blue Stuart Blakley

Durbar Court Arcades The Foreign and Commonwealth Office London © Lavender's Blue Stuart Blakley

Columns The Foreign and Commonwealth Office London © Lavender's Blue Stuart Blakley

Chandelier Durbar Court The Foreign and Commonwealth Office London © Lavender's Blue Stuart Blakley

The Foreign and Commonwealth Office is accessed off King Charles Street. It backs onto Downing Street. Numbers 10 and 11 can be glimpsed through muslin drapes. Architect George Gilbert Scott and the India Office’s surveyor Matthew Digby Wyatt were the dream design team. Completed in 1875, really it’s a cluster of buildings: the Foreign Office, India Office, Colonial and Home Offices. George Gilbert Scott supplied the august neoclassical cloak of architecture enveloping the inner sanctum of Matthew Digby Wyatt’s grand interior which reaches a climax in Durbar Court, a marvel in Greek, Sicilian and Belgian marble. Three storeys of columns and piers supporting arches rise to the glazed roof. The ground floor Doric and first floor Ionic columns are red Peterhead granite; the top floor Corinthian columns, grey Aberdeen granite. It’s the atrium of atria, arcades in Arcadia.

Frieze The Foreign and Commonwealth Office London © Lavender's Blue Stuart Blakley

There’s so much art and sculpture and history layered with meaning and misapprehension in the Foreign and Commonwealth Office. En processional route to Durbar Court is the Muses’ Stair. An octagonal glass lantern lighting the Portland stone staircase is decorated by Canephorae, Roman goddesses of plenty, floating over cherubs representing Roman virtues. Portraits of Emperor Napoleon III and Empress Eugénie hang between red Devonshire marble and grey Derbyshire marble Corinthian columns.

2012 Olympic Torch The Foreign and Commonwealth Office London London © Lavender's Blue Stuart Blakley

“Dare to be you!” Reverend Andy Rider preached in his last sermon as Rector of Christ Church Spitalfields. Over 100 years ago Lady Sybil Grant wrote in her self hagiography, “Provided that we are a star we should not trouble about the relative importance of our position in the heavens.” Fastforward a century or so and Mary is confident of her place in the firmament. And daring to be Mary Martin London. The creation of Eve. “We should be thankful that our cinematographic life in London still affords the quality of mystery and unexpectedness,” proclaimed Lady Sybil. Big statement.

Mary Martin London The Foreign and Commonwealth Office London © Lavender's Blue Stuart Blakley

Big statement architecture requires big statement fashion. Another interjection from Marilynne Robinson, “It all comes down to the mystery of the relationship between the mind and the cosmos.” First there was The Black Dress: “I see through a dark cloud of black mist.” Then The Red Dress: “The tainted bride is no longer a virgin.” Next came The White Dress: “I dream of memories when I was a Queen.” There’s only one dress left. The Rainbow Dress: “It’s finally coming – the biggest and the best! The Rainbow Dress will open The Return Collection!” the fashion artist declares. “A world champion ballerina will combine Tai quan dao and African dance on the catwalk. I’m bringing it in a bit different! People haven’t been out so I’m going to give them an amazing show. The Return to Africa. I’m out of the box!” Out of the box and into the Court. “Just A Dream” mourns Lisa-Marie Presley. Not for Mary Martin London. She is all about turning dreams into fantasies into realities into myths and truths. An uncommon wealth of talent.

Mary Martin London Men's Jacket © Lavender's Blue Stuart Blakley

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Design Luxury People

Bentley + Lavender’s Blue

The Cannonball Run

Bentley © Lavender's Blue Stuart Blakley

Handily placed between Sexy Fish (the restaurant) and Annabel’s (the club), Jack Barclay on Berkeley Square, Mayfair, is the world’s oldest and largest Bentley dealership. For more than a century, it has been keeping the one percent on wheels. When you’re in full throttle sports gear (our tyres and our attire) breezing along the coast, escaping the heat of the city, who cares that your automobile is averaging 19 litres per 100 kilometres (15 miles to the gallon)? Everywhere looks better from behind the wheel of a hand built Bentley Continental GT Convertible. And that includes the English Riviera when the mercury’s rising.

Bentley Convertible © Lavender's Blue Stuart Blakley

Bentley English Riviera © Lavender's Blue Stuart Blakley

Stuart Blakley © Andreas Y @ Lavender's Blue

Bentley Interior © Lavender's Blue Stuart Blakley

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Royal Victoria Patriotic Building + Le Gothique Wandsworth London

Mad For It

Wandsworth Common Pond © Lavender's Blue Stuart Blakley

Sunday afternoon cricket on Wandsworth Common makes for a bucolic tableau. It’s like a Lowry painting negative: starched white figures against a deep green, the working class city swapped for middle class suburbia. Or perhaps a Surrey village scene. Two centuries ago it would’ve been a Surrey village scene. Wandsworth only became a London Borough in more recent times. In the midst of the Common is a building locals refer to as “Dracula’s Castle” with good reason – its history is as dark as its slate roof.

Royal Victoria Patriotic Building Wandsworth London Windmill Lawn © Lavender's Blue Stuart Blakley

The Treaty of Paris of 1856 brought the Crimean War formally to an end. The Royal Commission of the Patriotic Fund was established to collect and distribute money donated by the public for the widows and orphans of men killed in the Crimean War. The Fund’s Executive and Finance Committee decided to build an orphanage on the then edge of London for 300 daughters of soldiers, sailors and marines killed in the recent conflict. A well timed letter from Frederick, 4th Earl Spencer and great great grandfather of Diana, Princess of Wales, solved the site issue:

Royal Victoria Patriotic Building Wandsworth London Windmill © Lavender's Blue Stuart Blakley

“My Dear Sir, If the Patriotic Fund Commission should select my ground to found their Institution on Wandsworth Common I should be willing, in consideration of the national object, to take on half the price Mr Lee has fixed on the value viz: £50 an acre… I do not wish to encounter any difficulty with the Copyholders, and the Commissioners, if they entertain any position of land, must take all risks of those difficulties. Yours faithfully, Spencer.” The Committee accepted the Earl’s offer and bought 65 acres (26 hectares) for £3,700. Nearby Spencer Park, where Chef Gordon Ramsay has his London pad, is a reminder of the Northamptonshire aristocratic connection.

Royal Victoria Patriotic Building Wandsworth London 1918 © Lavender's Blue Stuart Blakley

The building may also look like a Victorian madhouse but that’s about the only use it hasn’t been even though it was originally called the Asylum. Now for a countdown through the decades: 1858 orphanage; 1914 hospital; 1919 orphanage once more; 1939 reception centre; 1946 training college; 1952 school; 1970 vacant; and of late, 27 apartments, 20 studios, 15 workshops, two offices, a drama school and Le Gothique bar and restaurant. Tom Bailey from the Thompson Twins lives in one of the apartments. Past residents have included Duran Duran guitarist Andy Taylor and Charlotte Jane Bennett. The latter was an unfortunate schoolgirl who burned to death in 1901 on an upper floor – her ghost is said to prowl the interior as night falls.

Royal Victoria Patriotic Building Wandsworth London 1914 © Lavender's Blue Stuart Blakley

What on earth is a ‘reception centre’ or to use its full name the London Reception Centre? It is a somewhat euphemistic term for a refugee detention headquarters. Following the collapse of France and the Low Countries in 1940 in World War II, a flood of refugees entered Britain. Those from Germany and the Axis countries were usually interned while non enemy aliens were interviewed by immigration. MI5 decided to create a reception centre and where better than the highly adaptable Royal Patriotic School as it was known in its latest guise. Refugees from Occupied Europe had to pass through the reception centre – a sheep from the goats process. An average of 700 refugees were processed each month. Several spies were unmasked and hanged at Wandsworth Prison across the Common. It is rumoured that the Nazi Rudolf Hess was interrogated in the reception centre.

Royal Victoria Patriotic Building Wandsworth London Plants © Lavender's Blue Stuart Blakley

Major Rohde Hawkins was the original architect; Giles Quarme, the restoration architect. The 17th century George Heriot’s School in Edinburgh designed by William Wallace was the inspiration for the design. Major Hawkins sought to omit some of the ornamental details “to carry out which it was found would absorb too large an amount of the surplus at the disposal of the Commissioners”. Opening the orphanage, Queen Victoria declared it to be “beautiful, roomy and airy”. Recounting the day’s events in her diary that night, Her Majesty ended the entry with an entreaty: “May this good work, which is to bear my name, prosper!”

Royal Victoria Patriotic Building Wandsworth London Facade © Lavender's Blue Stuart Blakley

The Building News praised the new orphanage as being “bold, picturesque and effective”. Later royal visitors would include King Edward VII and Queen Alexandra, Princess Victoria, and Queen Amelia of Belgium. Country Life contributor Dr Roderick O’Donnell recognises the influence of municipal Flemish works in the architecture. “This is a secular gothic rather than ecclesiastical gothic influenced by buildings such as town halls in Florence and Bruges. There are also tones of Scottish baronial. The rhythm of a central tower with balancing towers either end of the façade was very popular during this period.” A corresponding orphanage (now Emanuel School) designed by Henry Saxon Snell was built for boys slightly to the north of the Royal Victoria Patriotic Asylum.

Royal Victoria Patriotic Building Wandsworth London Chapel © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Chapel Cross © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Tower © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Balcony © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Bow © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Dormers © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Pinnacle © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Great Hall Pinnacle © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Dormer © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Roof © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Roof Lantern © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Turret © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Statue © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Stonework © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Rear Courtyard © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London North Courtyard © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London North Courtyard Le Gothique © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Window © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Great Hall South Courtyard © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Great Hall © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Courtyard Pond © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Urn © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Chamfered Tower © Lavender's Blue Stuart Blakley67

Royal Victoria Patriotic Building Wandsworth London Le Gothique © Lavender's Blue Stuart Blakley

Royal Victoria Patriotic Building Wandsworth London Corridor © Lavender's Blue Stuart Blakley

The Survey of London Volume 49 Battersea (2013) edited by Andrew Saint records, “The lifespan of the Royal Commission of the Patriotic Fund Boys’ School (its official name) was brief. The Fund had been created in a surge of sympathy for the dead of the Crimean War, with the aim of maintaining their orphaned children. It was resolved to create a school and asylum for 300 girls, and another for 100 boys. The girls came first. With the money amply donated, the Commissioners bought the Clapham Junction site. This land’s southern portion was farmed, while at its centre arose the Royal Victoria Patriotic Asylum, conceived as a ‘national monument’ and built in 1858 to 1859 to ebullient gothic designs by Major Rohde Hawkins, architect to the Committee of Council on Education.”

Royal Victoria Patriotic Building Wandsworth London Entrance Hall © Lavender's Blue Stuart Blakley

“Built as a school for orphaned daughters of servicemen, 1857 to 1859, by Rhode [sic] Hawkins,” summarise Nikolaus Pevsner and Bridget Cherry in The Buildings of England London 2: South (1983). “A typically pompous Victorian symmetrical composition of yellow brick, with coarsely robust gothic detail. Three storeys with entrance below a central tower; lower towers at the ends, corbelled out turrets and bow windows. Statue of St George and the Dragon in a central niche. Separate chapel. Low concrete additions of the 1960s to the north.”

Royal Victoria Patriotic Building Wandsworth London Corbel © Lavender's Blue Stuart Blakley

Amongst the flourish of turrets, spikes and spires is a crocketed pinnacle with what appear to be mad cows nosediving off it. “It is strange that the gargoyles are in the form of hounds or lambs in lead!” observes heritage architect John O’Connell. “The Major designed this architectural element in timber and lead when it should all be in stone.” The orphanage Commissioners noted in their 1869 report that “from the size of the building and its peculiar construction and arrangements, it is a most expensive one to manage and keep in repair”. So much for Major Rohde Hawkins’ value engineering efforts! That’s no surprise. It is a complex complex with the main block built around a north courtyard and a south courtyard separated by a dining hall which is now used by the drama school. Both courtyards are surrounded on three sides by ground floor cloister type corridors. A rear courtyard cloistered on one side extends to the east and to the northeast is a standalone chapel.

Royal Victoria Patriotic Building Wandsworth London Staircase © Lavender's Blue Stuart Blakley

Master of the Gothic Revival architect Augustus Welby Northmore Pugin’s preferred builder George Myers constructed the orphanage. His tender of £31,337 also happened to be the lowest. “George Myers had an enormous works along the South Bank in Lambeth,” explains Dr O’Donnell. “Middlesex County Pauper Lunatic Asylum in Colney Hatch, Barnet, was his largest project.” The contractor made one change to Major Hawkins’ design, replacing a clock with a statue of St George and the Dragon – which as a skilled stonemason he may have carved himself – on the top floor of the entrance tower. Innovative construction methods included off site prefabrication of iron window frames, decorative leadwork and stone dressings. This allowed construction to be completed in under two years. Mark Justin, founder of Le Gothique relates, “This was the first building in the UK to have pre stressed concrete and mesh floors.” The restoration of the Royal Victoria Patriotic Building would take three times as long.

Royal Victoria Patriotic Building Wandsworth London Tracery © Lavender's Blue Stuart Blakley

“This building has a colourful history!” says Mark with more than a hint of understatement. He manages the bar and restaurant with his son Andrew. “Le Gothique is masculine not feminine because it’s named after the era not the building. I’ve been here for 35 years – I’m the longest serving landlord of a venue in London. Jean-Marie Martin was our French Head Chef for the first 25 years. Our Head Chef is now Italian Bruno Barbosa. If I’m asked for a description of our food I’d say ‘modern European’.”

Royal Victoria Patriotic Building Wandsworth Le Gothique Gnocchi © Lavender's Blue Stuart Blakley

Mark confirms the Rudolf Hess story is more than a rumour. “He came here in 1945. Why did he come to the UK though? On a whim he crash landed in the Duke of Hamilton’s estate in Scotland. He seemingly thought he could arrange peace talks with the Duke who was involved with the British Government’s war policy but he misunderstood pacifism here. Churchill went ballistic and he was arrested. But why did he come? He was invited by the Royals, specifically King Edward VIII and Wallis Simpson. Hess spent three days in the reception centre. The Government papers were due to be released but have been classified again until 2035. It’s all to do with Rudolf Hess and the potential downfall of the monarchy.”

Royal Victoria Patriotic Building Wandsworth Le Gothique Pear Tart © Lavender's Blue Stuart Blakley

“The restoration and conversion were featured in a 24 page spread in Architects’ Journal. Architect Eva Jiricna did the apartment interiors. She replaced the wooden beams with high tension steel wire and added glass staircases to mezzanine bedrooms.” Mark finishes, “Businessman Paul Tutton bought the 3,700 square metre derelict listed building from the Greater London Corporation for a pound. It was pigeon central! He restored and converted the building incrementally. Geoff Adams bought flat number one in 1985 for £24,000. Geoff died last year.” Gnocchi with butternut squash velouté followed by tart aux poires with vanilla ice cream, modern and European and delicious, are served alfresco in the north courtyard. Upstairs, a figure darts across one of the windows. Could it be Charlotte Jane?

Royal Victoria Patriotic Building Wandsworth Le Gothique Tarte Poire © Lavender's Blue Stuart Blakley

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Chilston Park Hotel + Lenham Kent

Palace in Wonderland

Lenham Village Kent © Lavender's Blue Stuart Blakley

The black and white half timbering of the medieval house jettying over the graveyard is matched by the monochromatic wooden porch gable attached to the Early and Very Early English St Mary’s Church. Coordinating domestic and ecclesiastical architecture separated by the dead. Lenham Village betwixt Ashford and Maidstone in a stretch of Kent that never feels entirely rural lives up to its Medieval Village brown sign. A discreet distance away on the far side of the M20 lies Chilston Park Hotel, full of the living and the alive.

St Mary's Church Lenham © Lavender's Blue Stuart Blakley

The Alice in Wonderland scale chess board and pieces on the lawn are enough to make Elaine Paige and Barbara Dickson burst into song. And the weather would force Belinda Carlisle to belt out her hit Summer Rain. Safely and elegantly ensconced in the great indoors, what’s not to love though? Lunch in The Marble Lounge is a sheer delight. Presumably named after its gargantuan pedimented fire surround, a piece of architecture in its own right, the entrance hall as it really is could also be called The Flagstone Hall or The Hall of Mirrors.

Chilston Park Hotel Kent Topiary © Lavender's Blue Stuart Blakley

Chilston Park Hotel Kent Chessboard © Lavender's Blue Stuart Blakley

Chilston Park Hotel Kent Seats © Lavender's Blue Stuart Blakley

Chilston Park Hotel Kent © Lavender's Blue Stuart Blakley

Chilston Park Hotel Kent Entrance © Lavender's Blue Stuart Blakley

Chilston Park Hotel Kent Facade © Lavender's Blue Stuart Blakley

Chilston Park Hotel Kent Mews © Lavender's Blue Stuart Blakley

Chilston Park Hotel Kent Marble Hall © Lavender's Blue Stuart Blakley

Chilston Park Hotel Kent Oriential Case © Lavender's Blue Stuart Blakley

Chilston Park Hotel Kent Bust © Lavender's Blue Stuart Blakley

Chilston Park Hotel Kent Portrait © Lavender's Blue Stuart Blakley

Chilston Park Hotel Kent Staircase Hall © Lavender's Blue Stuart Blakley

Chilston Park Hotel Kent Staircase © Lavender's Blue Stuart Blakley

It’s like lunching in a National Trust property. So it comes as no surprise to learn that Chilston Park was converted into a hotel by Martin and Judith Miller, authors of Miller’s Antiques. Judith is also a presenter on the BBC’s Antiques Roadshow. “I just feel a connection with historical buildings,” she shares. “My interest in antiques comes from discovering them through the pursuit of history.” Almost four decades later, and despite changing hands several times, a current inventory of the furnishings and art in the rooms would read like a supplement to Miller’s Antiques. The last private owner was the extravagantly monikered Aretas Akers-Douglas, 1st Baron Douglas of Baads and Viscount Chilston of Boughton Malherbe. The peer was a Conservative Home Secretary. It is currently owned by Hand Picked Hotels whose portfolio includes historic properties across Great Britain and the Channel Islands.

Chilston Park Hotel Kent Landing © Lavender's Blue Stuart Blakley

The architectural history of the house is almost as complicated as the Really Early English St Mary’s Church Lenham. The first building was a turn of the 16th century courtyard house. In the opening decades of the 18th century, an earlier central tower was replaced with a three bay pedimented projection and the house was generally revamped. The resultant balanced elevations – two storey red brick sash windowed hipped roof – present a convincingly coherent Georgian pile. Subtle asymmetries and eccentric quirks of the floor plan reveal otherwise. A neo Jacobean staircase hall, ancillary stairs and corridors all lit by roof lanterns gobble up the courtyard. There are 53 bedrooms in total spaced across the main house, mews houses and converted stables. On the first floor of the main house, the northeast facing Queen Anne Room, Hogarth Room, Guilt Room and Oriental Room overlook the lake. The east and southwest facing Regency, Victoria, Byron and Evelyn Rooms have views of nine hectares of parkland. Tulip and Rowlandson Rooms overlook the mews houses to the west. As Lewis Carroll wrote, “There were doors all round the hall.”

Chilston Park Hotel Kent Corridor © Lavender's Blue Stuart Blakley

Categories
Architecture People

Hastings East Sussex + Foyle’s War

Nodal Point Class A

View Foyle's Country Hastings East Sussex © Lavender's Blue Stuart Blakley

“Welcome to Foyle’s Country!” declare the friendly locals. Their locale is Hastings’ answer to Bristol’s Clifton or Dublin’s Killiney. It’s a ravishingly unrepentant patchwork quilt of cottages and gardens and love knitted across the lower – and occasionally upper – gradients of the hills that bow down to England’s southeast coast. Interspersed with some rather grand Nash-sur-Mer terraces. “You have to photograph St Just!” they cry. “That’s Detective Chief Inspector Foyle’s house although the interiors were filmed elsewhere.” A ­­faded sign on the flank wall next to the rather smart three storey plus multi bowed Regency St Just (who knew an interwar policeman’s salary was so generous?) reads: ‘T Noalles. Plumber, Painter and Glazier. Writing, Graining and Gilding. Estimates Given.’ Mr Foyle’s accent is certainly more plummy than plumber.

Townhouses Foyle's Country Hastings East Sussex © Lavender's Blue Stuart Blakley

Cottage Foyle's Country Hastings East Sussex © Lavender's Blue Stuart Blakley

Croft Road Foyle's Country Hastings East Sussex © Lavender's Blue Stuart Blakley

Cottages Foyle's Country Hastings East Sussex © Lavender's Blue Stuart Blakley

Roofline Foyle's Country Hastings East Sussex © Lavender's Blue Stuart Blakley

Regency Terrace Foyle's Country Hastings East Sussex © Lavender's Blue Stuart Blakley

IMG_7430

Regency Townhouses Foyle's Country Hastings East Sussex © Lavender's Blue Stuart Blakley

Terrace Foyle's Country Hastings East Sussex © Lavender's Blue Stuart Blakley

St Just House Foyle's Country Hastings East Sussex © Lavender's Blue Stuart Blakley

St Just Hastings East Sussex © Lavender's Blue Stuart Blakley

St Clement's Church Foyle's Country Hastings East Sussex © Lavender's Blue Stuart Blakley

Dormer Foyle' Country Hastings East Sussex © Lavender's Blue Stuart Blakley

Bay Window Foyle's Country Hastings East Sussex © Lavender's Blue Stuart Blakley

Bay Foyle's Country Hastings East Sussex © Lavender's Blue Stuart Blakley

In Umbra Ecclesiae Hastings East Sussex © Lavender's Blue Stuart Blakley

The very sunny very atmospheric very colourful (check out the half red squirrel peeping out of a stone basket) very real set of Foyle’s War was a training ground for thespian soldiers with Edward Fox, James McAvoy, Tobias Menzies, Rosamond Pike, and, eh, Danny Dyer, working the trenches. With more country houses than a Burke’s Guide, lemon curd sandwiches by the dozen, ladies wearing lavender water, and as many twists and turns as Murder on the Venice Simplon-Orient Express, no wonder Foyle’s War was an instant television success. It’s all terribly tickety boo. A celebration of flotsam and jetsam narratives floating across topsy turvy townscapes and higgledy piggledy farmyards. Foyle’s War features some memorable wartime sayings too such as, “Up with the lark; to bed with the Wren.” Cue Chris de Burgh’s ‘Borderline’ playing…

Red Squirrel Foyle's Country Hastings East Sussex © Lavender's Blue Stuart Blakley

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Architects Architecture Country Houses Luxury People Restaurants

Belair House + Park Dulwich London

Season of The Unexpected

Belair House West Dulwich London Lake © Lavender's Blue Stuart Blakley

A little along Gallery Road, opposite Lovers’ Lane, stands a distinguished villa. Belair, whether two words, hyphenated or a portmanteau is a class signifier from Los Angeles to Wicklow to Dulwich. Pure class. Belair House in the picturesque perfect postcard pretty prestigiously pristine village of Dulwich in southeast London was built in 1785. That’s a fact. Or at least it’s the date proudly painted on the pediment over the entrance door. But all is not how it seems. What is rather more certain is the original name of house was College Place and the client, John Willes. A wealthy corn trader from Whitechapel, he first leased 20 hectares known as Home Farm from Dulwich College some 14 years earlier. The house would be renamed Belair by a later owner, solicitor Charles Rankin, in 1829.

Belair House West Dulwich London Ducks © Lavender's Blue Stuart Blakley

Local shopkeeper and historian Brian Green records in his 2002 book Dulwich: A History, “Belair is a fine example of an Adam style Georgian house. For many years it had a model farm in its 48 acres of grounds… In the lodge, still standing at the front entrance, lived the under-gardener who was responsible for looking after the grapevine hothouse, the cactus hothouse and three other large greenhouses. The coachman lived next door in the coach house… After the death of Sir Evan Spencer, the last occupant, in 1937, the contents were auctioned and the house fell into some decay. During World War II it was first used by the Royal Army Service Corps as a depot and later by the Free French forces. The grounds were used by the local platoon of the Home Guard for grenade practice.”

Belair House West Dulwich London © Lavender's Blue Stuart Blakley

Over to Ian McInnes, Chair of the Dulwich Society, “No one knows who the original architect was for Belair. Despite many articles suggesting it was the Adam brothers, there is no information in the Dulwich Estate archives to support that. We have quite detailed background on the owners in the 19th century but nothing on the original architect(s) – what you see today is of course an early 1960s ‘impression’ of what a late 18th century house in a park ought to look like.” So it is “Adam style” as Brian Green points out but probably not Robert, James or William Adam. And what an impression!

Belair House West Dulwich London Front Elevation © Lavender's Blue Stuart Blakley

In 1961, under the ownership of Southwark Council, Belair was radically stripped back to its original form, more or less. A villa reborn. A vision reimagined. A variation on a theme recomposed. Rationalised single storey bow ended wings were added either side. Behind a blind bow window, the north facing wing is actually hollow and conceals a staircase winding up to a first floor terrace which embraces the mother of all views. In the distance, a serpentine lake nestled in the pleasure grounds radiates in the early summer heat, red mace, yellow flag and purple loosestrife erupting in a blaze of colour.

Belair House West Dulwich London Facade © Lavender's Blue Stuart Blakley

Belair House West Dulwich London Entrance Front © Lavender's Blue Stuart Blakley

Belair House West Dulwich London Entrance © Lavender's Blue Stuart Blakley

Belair House West Dulwich London Pediment © Lavender's Blue Stuart Blakley

Belair House West Dulwich London Date © Lavender's Blue Stuart Blakley

Belair House West Dulwich London Park © Lavender's Blue Stuart Blakley

Belair House West Dulwich London Staircase Bow © Lavender's Blue Stuart Blakley

Belair House West Dulwich London Garden © Lavender's Blue Stuart Blakley

Belair House West Dulwich London Garden Front © Lavender's Blue Stuart Blakley

Belair House West Dulwich London Parkland © Lavender's Blue Stuart Blakley

Belair House West Dulwich London Side View © Lavender's Blue Stuart Blakley

Belair House West Dulwich London Bow Front © Lavender's Blue Stuart Blakley

Belair House West Dulwich London Ionic Column © Lavender's Blue Stuart Blakley

Belair House West Dulwich London Balustrade © Lavender's Blue Stuart Blakley

Belair House West Dulwich London Side Elevation © Lavender's Blue Stuart Blakley

Belair House West Dulwich London Staircase © Lavender's Blue Stuart Blakley

“The architects for this reconstruction,” explains Ian, “were Austin Vernon + Partners, most probably Malcolm Pringle, but the elderly Austin Vernon may have also had a hand in it as he had done quite a bit of good neo Georgian in his career. All of the practice’s records were destroyed in the 1990s.” Returning to the identity of the original architect, Henry Holland is sometimes mentioned. “The Henry Holland connection comes from Thurlow House in West Norwood, also southeast London,” Ian says, “which he did design and was built roughly at the same time. But that’s supposition and there is no proof he was the architect of Belair.”

Belair House West Dulwich London Blind Bow © Lavender's Blue Stuart Blakley

The period between 1785 and 1961 saw Belair House swell and deflate like bagpipes. In the 19th century the building was transmogrified under the direction of then owner Charles Hutton, Deputy Lieutenant for London. W­­ings and glasshouses and attics and grandeur were added to accommodate the Huttons and their 11 children and 10 servants. In 1980, the Dulwich Society Journal declared, rightly so, “One has a better idea now of the simple elegance of the original Georgian design than would have been the case a century ago, when it was obscured by Victorian wings and outbuildings.” Belair is now a restaurant and wedding venue. Mark Fairhurst Architects were responsible for sensitively extending and converting the former late 18th century stables building and early 19th century gatelodge into fully residential use.

Belair House West Dulwich London Former Stables © Lavender's Blue Stuart Blakley

“The brief,” explains Mark, “was to restore the existing stables building, which had been poorly converted into flats, and create a modern, flexible living space suitable for a young family.” An enticing blend of old and new architecture was the result. “The concept was to create an open, fluid ground floor living area by introducing a linear glass and steel pavilion linking the rooms created within the narrow existing building, and visually linking the accommodation with the surrounding landscape. Random outbuildings were replaced by a new single storey guest wing linked to the listed building via a glazed winter garden in the entrance courtyard.” The gatelodge is used as a studio linked to the house.

Belair House West Dulwich London Gatelodge Sign © Lavender's Blue Stuart Blakley

The Dulwich Society Journal concludes, “Belair was the first of many imposing mansions to be built in the 18th and 19th centuries, and the only one to have survived in anything like its original form.” Mireille Galinou records in The Dulwich Notebook, “The architectural historian John Harris referred to the ‘exceptional survival of Belair, a house of 1785 in a designed landscape, in his 1990 essay on London’s 18th century gardens.” She continues, “Survival is the right word. Local historian Patrick Darby discovered in the Minutes of the Dulwich Estate’s Governors’ Meetings a ‘serious proposal to demolish Belair, fill in the lake, and cover it with 200 small villas – a proposal only thwarted by the Charity Commissioners!” Further down Gallery Road, as its name would suggest, lies Dulwich Picture Gallery. A fading banner clinging to the railings advertises a British Surrealism exhibition. The gallery is closed due to a pandemic. The name of the exhibition? ‘Season of The Unexpected’. Surreal, indeed.

Belair House West Dulwich London Gatelodge Chimney © Lavender's Blue Stuart Blakley

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Categories
Architecture Luxury People Restaurants

Hide at Home Restaurant London + Ollie Dabbous

Please Do Eat the Daisies

The Queen's Meadow Piccadilly London © Lavender's Blue Stuart Blakley

One of the stalwarts of the London restaurant scene, Le Caprice, has sadly closed. It was the all stars favourite, or at least was for the earlier decades of its 40 year lifespan, hosting late and living legends from Diana Dors to Princess Diana to Diana Ross. A little bit of 20th century glamour vanished with its closure. Even more sadness saying farewell, adieu, goodbye to nearby Indian Accent. There was nowhere better to savour soy keema, quail egg and lime leaf butter pao than in this intimately luxurious luxuriously intimate hideaway. Relative newcomer Hide, a scallop’s throw from Le Caprice, has been steadily growing its presence since opening on Piccadilly in 2018. Hide at Home – the same Michelin starred food delivered to your doorstep – is Chef Ollie Dabbous’ latest innovation. It comes with Hide at Home Culinary Instructions which boil down to “eat and enjoy”. Our Saturday evening meal arrives:

Hide Restaurant Piccadilly London © Lavender's Blue Stuart Blakley

Hide Restaurant London © Lavender's Blue Stuart Blakley

Each course is an individual explosion of taste, texture and colour with a common aesthetic theme of Hide’s signature edible flowers. Hide Restaurant has three spaces denoting floor level: Below, Ground and Above, the latter with sweeping views across Piccadilly to Green Park and its latest addition, The Queen’s Meadow. Eating on our terrace, we add a new fourth space: Outside, which has sweeping views across laurel and bay trees to our obelisk topped trellis. Ollie Dabbous’ aim is, “To make food taste as good as it possibly can by respecting the integrity of the ingredient through a style of cooking that is organic but refined.” This rings true, whether enjoying his food in Below, Ground or Above or best of all, Outside.

Hide at Home Restaurant London Pudding © Lavender's Blue Stuart Blakley

Categories
Architects Architecture People

Ryculff Square Blackheath London + Sir Albert Richardson

Paragon of Virtuous Planning

Rycullf Square Southeast London © Lavender's Blue Stuart Blakley

Sometimes you just gotta hunt a little harder, dig a little deeper, look a little longer, to see the wood and the trees. Beauty isn’t always served up on a plate, not even in glorious Blackheath. Its Georgian terraces and Regency villas facing the Heath are on full display for all to admire but, to employ a military analogy, the army that is architecture can’t be just about majors. Lieutenants are required too. Where is the hidden charm, the understated elegance, the stuff that scenery is made of? Ryculff Square.

Apartment Blocks Rycullf Square Blackheath © Lavender's Blue Stuart Blakley

But first, a race through literature celebrating the neoclassical, the Georgian, the neo Georgian and the hooley. Deputy Chief Architect to the Ministry of Health Housing Department Manning Robertson, who owned Huntington Castle in County Carlow, penned Everyday Architecture in 1924. He states in his preface, “The necessity for economy is forcing us into honest expression, and the new style, although based upon past tradition and especially upon Georgian work, is not a mere copy, but bears the stamp of the present day; we are in fact continuing the sequence of English architecture from the point where it was rudely interrupted by the industrial materialism of the last century. More and more we rely for our effects upon good plain brick and tile work, of pleasing texture and varied colour, and upon the elusive quality of proportion emphasised by the play of shadows.”

Lawn Rycullf Square Blackheath © Lavender's Blue Stuart Blakley

Rycullf Square Blackheath London © Lavender's Blue Stuart Blakley

Apartment Block Rycullf Square Blackheath © Lavender's Blue Stuart Blakley

Manning Robertson wasn’t the only 20th century Anglo Irish gentleman author. Lord Kilbracken, who owned Killegar House in County Leitrim, was a Tatler columnist. His 1960 book Shamrocks and Unicorns is an amusing array of essays meandering from The Night of the Hooley and A Ghostly Encounter to Bog for Sale and Wanderlust. Arthur Trystan Edwards upholds the merits of the Georgian style in his 1946 book Good and Bad Manners in Architecture: “The period of domestic architecture from which for all others we have most to learn is the Georgian. The essential modernity of the ‘Georgian’ style should be fully recognised… The sedate and comely form of the 18th century houses are a perfect embodiment of the social spirit. They belong to the community, they are born of the discovery that in domestic architecture individuality is best securely established when houses defer to a common cultural standard.”

Rycullf Square Blackheath © Lavender's Blue Stuart Blakley

Ryculff Square once more. The scheme is about as streamlined neo Georgian as is possible. Sir Albert Richardson designed a series of apartment blocks placed around leafy green squares. Completed in 1954, plain brick elevations are subtly relieved by string courses and mildly projecting porches. Low pitched concrete tile roofs rest on deep eaves. Almost 65 years after its first brick was laid, Ryculff Square remains largely unspoiled. The plethora of plastic framed double glazing and galaxy of satellite dishes are both reversible. A few kilometres south of the Heath, Lourdes Close is the latest residential development in Blackheath. Designed by Thrive Architects, the nine townhouses are neo Georgian.

Doorcase Rycullf Square Blackheath © Lavender's Blue Stuart Blakley

Sir Albert Richardson lived in the Georgian gem of Avenue House in Ampthill, Bedfordshire. Gavin Stamp lamented the sale and dispersal of its contents in 2013 while extolling the architect’s virtues in Apollo Magazine. “Richardson may have adopted a pose in Ampthill – refusing to install electric light, dressing up in Georgian clothes and being carried through the streets in a sedan chair – but he was a seriously good modern architect,” Professor Stamp argued. “He began by promoting the Edwardian rediscovery of neoclassicism and the works of people like Soane and Cockerell. After the First World War he intelligently adapted the abstracted classical language of Schinkel and other neoclassicists…” Avenue House was bought by Tim Knox, Director of the Royal Collection, and garden designer Todd Longstaffe-Gowan, who are restoring the house to its future glory.

Flower Rycullf Square Blackheath © Lavender's Blue Stuart Blakley

Categories
Architecture People

Bexhill-on-Sea East Sussex + Lady Sybil Grant

The Angry Whelk

De La Warr Parade Bexhill-on-Sea Sussex © Lavender's Blue Stuart Blakley

There’s more to Bexhill-on-Sea than the De La Warr Pavilion, y’know. Yes, the Modernist masterpiece might reign supreme but don’t forget about the string of red brick Dutch gabled bay windowed Queen Anne on speed beauties lacing the coast and the Little Athens promenade pearls. What would Lady Sybil Grant have to say? Writing in her 1912 literary curio Samphire: “Provided that we are a star we should not trouble about the relative importance of our position in the heavens.” And more to the point, “Yes, today will be fine.”

De La Warr Parade Garden Bexhill-on-Sea Sussex © Lavender's Blue Stuart Blakley

Bexhill-on-Sea Promenade Sussex © Lavender's Blue Stuart Blakley

Bexhill-on-Sea View Sussex © Lavender's Blue Stuart Blakley

Beach Hut Bexhill-on-Sea East Sussex © Lavender's Blue Stuart Blakley

Categories
Architecture Art People

Sovereign Light Café + Promenade Bexhill-on-Sea East Sussex

Everybody’s Changing

Sovereign Light Cafe Bexhill-on-Sea Sussex © Lavender's Blue Stuart Blakley

Someone should write a song about this place.

Sovereign Light Cafe Bexhill Sussex © Lavender's Blue Stuart Blakley

Categories
Art Luxury People Restaurants

Sinabro Restaurant Battersea London + Lavender’s Blue

Le Dîner Gastronomique Chez Vous

Sinabro Baby Gem Salad © Lavender's Blue Stuart Blakley

Remember ye anciente days of olde when we went to restaurants? Now restaurants come to us. Service? That’ll be a knock at the door. Carriages? That’ll be a walk down the bedroom corridor. A mere 45 years ago, James Sherwood’s Discriminating Guide to Fine Dining and Shopping in London didn’t list any restaurants on Battersea Rise. The nearest mentioned was Five Five Five once on that same number on Battersea Park Road. The Guide records, “The cuisine is described as Central European, although many of the starters are more familiar to Battersea than Romania.”

James Sherwood knew his onions (fried, pickled and sautéed): he founded Orient-Express Hotels. The hotelier wasn’t afraid to give the two finger salute either to establishments in his “Not For Us” section. Bentley’s on Swallow Street and diagonally opposite on Piccadilly, The Ritz Dining Room, both suffered this fate (they have since changed hands). What was so bad about Bentley’s? An “overcooked entrecôte” and “lukewarm broccoli”, apparently. And The Ritz? “Tough overcooked roasts”, allegedly. Oh, and rather bravely, he named and shamed a further 118 restaurants which failed to meet his exacting standards. Other lighter categories include “Where to Eat in Blue Jeans” (Alvaro, a King’s Road Italian, and Pimlico, another Italian in – you guessed it – Pimlico; both confined to the history of hospitality), and “Where to Eat If You Have Come Into an Inheritance” (Mayfair hotels Claridge’s and The Connaught – some things never change). James Sherwood died 11 days ago.

Fast forward four and a half decades and Battersea Rise is rammed with restaurants. Our perennial favourite – and we are fervent Francophiles – is the six year old Sinabro. One thing for sure: the late critic would award Sinabro Two Stars (his top accolade). A pop up food and wine shop for now, owners Yoann Chevert and Sujin Lee chime, “We are keeping our delivery menu simple but will change it very often. Enjoy upscale gourmet cuisine in the comfort of your own home. Bon appétite et très bientôt!” We stick to our pescatarian roots and order seatrout with toasted almonds and baby gem salad, complete with a personalised presentation note. Summer on a plate, so to speak. There’s plenty more to order tomorrow and tomorrow’s tomorrow, from homemade pickles and potato terrine to chocolate babka and strawberry tart. This service has legs. C’est bon, c’est très bon.

Sinabro Seatrout with Toasted Almonds © Lavender's Blue Stuart Blakley

Categories
Art Country Houses Design Fashion Luxury People

Mary Martin London + Behind the Mask + Blood Sweat + Tears Collections

Hinterland Sound

Mary Martin London Janice Porter Stuat Blakley © Lavender's Blue

The fashion pictures. Urban chic in the country. Military cool in the city. Mary Martin wears versatility on her sleeve. “It was all very grand and very mad,” Nancy Mitford once purred.

Categories
Art Fashion People

Mary Martin London + Behind the Mask Collection

Hugging at the Venice Ball

Mary Martin London Hoodie Stuart Blakley © Lavender's Blue Becks

Only Mary Martin London would conjure up haute couture hoodies with matching face masks in an increasingly byzantine world, introducing evanescent light into the Stygian darkness. Worthy of a Rizzoli monograph, Behind the Mask is futuristic fashion fusion taken to a whole new paradoxical level. Mary exclaims, “I just thought to myself I need to create streetwear for this time when we’re not allowed on the streets!” Face masks are the new matching fashion accessory. Socially distanced, a “drive by shoot” takes on a whole new meaning, channelling inner Fauda. Thanks Becks. Gucci velvet slippers model’s own.

Mary Martin London Behind the Mask Haute Couture Stuart Blakley © Lavender's Blue Becks

Mary Martin London Face Mask Stuart Blakley © Lavender's Blue Becks

Mary Martin London Behind the Mask Collection Stuart Blakley © Lavender's Blue Becks

Mary Martin London Behind the Mask Streetwear Stuart Blakley © Lavender's Blue Becks

Mary Martin London Hoodie Label Stuart Blakley © Lavender's Blue Becks

Categories
Architecture Developers People

The Spell + Roupell Street Waterloo London

A Street Named Desire

Roupell Street Conservation Area Waterloo London Aerials View © Lavender's Blue Stuart Blakley

Gazing at a house on Roupell Street, any house, lucky number seven, luckless number 13, before a visit to The King’s Arms (crammed Monday to Friday; only the fireside cat for company at the weekend), after a visit to The King’s Arms, summer and smoke, makes us think of that part in Alan Hollingsworth’s 1999 novel The Spell when, in the grips of his first ecstasy experience, Robin Woodfield realises why house music is so called: “Because you want to live in it.” Or there’s the picture of a house in the 1980 photographic journal Camera Lucida which Roland Barthes captions, simply and perfectly, “I want to live there.” It’s a shortcut to The Cut; thespians acting at the Old Vic, acting up at the New Vic.

Roupell Street Conservation Area Waterloo London Chimneys © Lavender's Blue Stuart Blakley

A grid, a toast rack, a tightknit urban grain, a bacchanalian bout of Augustan nostalgia, a traditional survival in an otherwise redeveloped postcode. Roupell Street runs parallel with both Theed Street and Whittlesey Street to the north and Brad Street to the south – all traversed by Windmill Walk. The early 19th century terraced houses, once unremarkable by their compact ubiquity, now listed for their intact rarity, a lesson in brick for planners and architects and citizens. The original artisan workers have long gone, replaced by harrumphing gazumping bankers, boorish bourgeoning bourgeois, collars swapped from blue to white. Modest houses bought with immodest bonuses. All too apropos, the property developer John Palmer Roupell moonlighted as a gold refiner.

Roupell Street Conservation Area Waterloo London Gables © Lavender's Blue Stuart Blakley

Ian Nairn where else but in Nairn’s London of 1966 wrote: “Here is true architectural purity… nothing but yellow London brick and unselfconscious self respect. Whittlesey Street is… two storeys made into three with a blind attic window concealing a monopitch roof of pantiles. Roupell Street answers with a wavy pattern. On one level there is no finer architectural effect in London.” Stock brick darkened by soot over the passage of time, closer in colour now to the Welsh roof slates – accidental homogeneity. Originally the frames of the timber sash windows holding mouth blown hand spun glass would’ve been painted black; they’re all white now. Solid to void relationships are perpendicularly predictable, correctly so. A pleasing wallage to window is maintained.

Roupell Street Conservation Area Waterloo London Bollards © Lavender's Blue Stuart Blakley

Roupell Street Conservation Area Waterloo London © Lavender's Blue Stuart Blakley

Roupell Street Conservation Area Waterloo London Terrace © Lavender's Blue Stuart Blakley

Roupell Street Conservation Area Waterloo London Wittlesey Street © Lavender's Blue Stuart Blakley

Roupell Street Waterloo © Lavender's Blue Stuart Blakley_edited-1

Roupell Street Conservation Area Waterloo London Theed Street © Lavender's Blue Stuart Blakley

Roupell Street Conservation Area Waterloo London Flank © Lavender's Blue Stuart Blakley

Roupell Street Conservation Area Waterloo London Shopfront © Lavender's Blue Stuart Blakley

Roupell Street Conservation Area Waterloo London House © Lavender's Blue Stuart Blakley

Who says repetition is monotonous? Who says repetition is monotonous? It creates rhythm. And order. Strength and safety in numbers, arithmetical progression. Ah … the terrace. That arrangement of buildings enjoying continuity intimacy, expressing conscious couplings by the noblest concepts of civic design. The two bay houses of Roupell Street coincidentally correspond to the height and width of the arches of the massive railway viaduct which ponderously plods its elephantine progress across this patch, carrying wistful commuters longing to live in this coveted corner of SE1. Each house has a butterfly roof with two pitches nosediving into a central valley gutter that drains to the rear. The gables on the grander three bay Theed Street and Whittlesey Street houses are hidden behind one continuous high, no make that very high, stone coped parapet with three blind mice windows. Mono pitched roofs descend into cat-on-a-hot-tin-slide returns.

Roupell Street Conservation Area Waterloo London Yard © Lavender's Blue Stuart Blakley

Character is derived from uniformity and regularity of appearance. Regimented form contributes to cohesive sense of place, place having lost its definite article. Come closer. Character is also derived from the quiet details. Draw nearer. Stucco cornices and pediments, arches over openings, half moon fanlights, iron knockers, tall chimneys holding slender pots shrouded in a spider’s web of aerials, striped bollards guarding granite kerbs like Lilliputian lighthouses.

Roupell Street Conservation Area Waterloo London Door © Lavender's Blue Stuart Blakley

“The period of domestic architecture from which of all others we have most to learn is the Georgian,” ponders Trystan Edwards in his 1926 textbook Architectural Style. “The essential modernity of the Georgian style should be widely recognised. If we do not derive full benefits from this tradition, the failure will certainly be justified by the extremely disputable suggestion that such a manner of building is unsuitable to our present social circumstances. Its reliance on the virtue and dignity of proportions only, and its rare bursts of exquisite detail, all expressed as no other style has done, that indifference to self advertisement, that quiet assumption of our own worth, and that sudden vein of lyric affection, which have given us our part in civilisation.” Houses built to last. Roupell Street – so Georgian; so English; so reticent, gentlemanly and polite; abstracted; understated classical authority; so not suburban; so not Poundbury; so real. Hark, it’s the architecture’s Camino Way to Santa Barbara.

Roupell Street Conservation Area Waterloo London Bootscraper © Lavender's Blue Stuart Blakley

Categories
Art Design People

Min Hogg + The Seaweed Collection of Wallpapers + Fabrics

Finding Material

Min Hogg The World of Interiors Founder © Lavender's Blue Stuart Blakley

“It’s sort of feeble really,” says Min Hogg. “Open the property section of any newspaper and you’ll see page after page of boring beige interiors. I blame technology. People just want to switch on this and that but can’t be bothered to look at things like furniture and paintings.” Her own flat is neither boring nor beige. Quite the opposite. It’s brimming with antiques and art and personality. And magazines. “The red bound copies on my shelves are from when I was Editor. The loose copies in boxes are all the subsequent issues.” Min was, of course, founding Editor of the highly influential magazine The World of Interiors.

“My mum would have made a brilliant Editor but she was awfully lazy,” confides Min. “She always made our houses really nice without any training, none of that, she just did it. She was a great decorator. You bet! So was my grandmother.” Min’s first plum role was as Fashion Editor of Harpers and Queen. Anna Wintour, who would later famously edit American Vogue, was her assistant. “We hated each other!” Min recalls, her sapphire blue eyes twinkling mischievously. “I was taken on by Harpers and Queen over her. She really knew I wasn’t as utterly dedicated to fashion as she was. By no means!” Nevertheless, Anna was the first to leave.

Min Hogg The World of Interiors Founder Home Garden Brompton Square London © Lavender's Blue Stuart Blakley

Thank goodness then for an ad in The Times for “Editor of an international arts magazine” which Min retrieved from her bin. She applied and the rest is publishing history. The World of Interiors was a roaring success from day one, year 1981. “I submitted a three line CV,” she laughs. “I didn’t want to bore Kevin Kelly the publisher with A Levels and so on!” It didn’t stop her being selected out of 70 candidates. “I sort of knew I’d got the job. I ended up having dinner with his wife and him that night. I think probably of all the people who applied, I was already such friends with millions of decorators. Just friends, not that I was doing them any good or anything, I just knew them because we were likeminded.”Min Hogg The World of Interiors Founder Home Brompton Square London © Lavender's Blue Stuart Blakley

Studying Furniture and Interior Design at the Central Art College must have helped. “Well it was too soon after the Festival of Britain and I really didn’t get it. The only person who taught anything was Terence Conran. He was only about a year older than any of us actually. But you could tell he wasn’t into Festival of Britain furniture either which, I’m sorry, I don’t like and never did.”

“Come and have a look at the view from the kitchen, it’s really good,” says Min stopping momentarily. “It’s like living opposite the Vatican,” pointing to the plump dome of Brompton Oratory. Back in her sitting room, the view is of treetops over a garden square, a plumped up cushion’s throw from Harrods. As for choosing an interior to publish, “If I liked it, I’d do it. If I didn’t like it, I wouldn’t! I came to the job with this huge backlog of interior ideas. We never finished using them all. I’m blessed with a jolly broad spectrum of vision, and as you can see, although I’m not a modernist I can appreciate modernism when it’s good. I don’t like Art Nouveau either but I can get the point of a really good example of anything.”

Appropriately Min’s top floor which she bought in 1975 looks like a spread from The World of Interiors. “I don’t decorate, I just put things together. I’m a collector,” she confesses. Eclectically elegant, somehow everything fits together just so. “John Fowler was an innovator. He was frightfully clever.” So is Min. She laments the disappearance of antique shops. And junk shops. “London used to be stuffed with junk shops. Now it’s seaside towns like Bridport and Margate that have all the antique shops. There’s nothing left in London. Just the few grand ones.” Interiors may be her “addiction” but Min is interested in all art forms. She’s been an active member of the Irish Georgian Society ever since it was founded by her friends Desmond and Mariga Guinness. “I love the plasterwork of Irish country houses,” she relates, “Castletown’s a favourite.”

Min Hogg The World of Interiors Founder Address Brompton Square London © Lavender's Blue Stuart Blakley

With her vivacity and an email address list to die for, it’s little wonder Min’s parties are legendary. She even makes a fun filled appearance in Rupert Everett’s autobiography. But it’s not all play between her Kensington flat and second home in the Canaries. She’s still Editor at Large of The World of Interiors. Plus a few years ago she launched the Min Hogg Seaweed Collection of Wallpapers and Fabrics. It began with Nicky Haslam telling her: “I need a wallpaper for an Irish house I’m decorating. You know about colour and design.” So Nicky gave Min an 18th century portfolio of botanical seaweed prints for inspiration and off she went.

Min Hogg The World of Interiors Founder Seaweed Collection Wallpapers © Lavender's Blue Stuart Blakley

“Mike Tighe, the former Art Director of The World of Interiors, joined me,” she explains. “For me it was a physical thing, cutting out paper patterns by hand. Mike did all the computer work. I learnt to do a repeat and everything else. It’s funny how you can learn something if you’re interested. By pure luck the finished result looks like hand blocked wallpaper. If someone gives us a colour we can match it. I like changing the scale too from teeny to enormous.” It’s a versatile collection, printed on the finest papers, cottons, linens and velvets. Prominent American interior designers like Stephen Sills love it. The collection may be found in a world of interiors from a Hawaiian villa to a St Petersburg palace. But not in any boring beige homes.

Min Hogg The World of Interiors Founder Seaweed Collection Fabrics © Lavender's Blue Stuart Blakley

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Architects Architecture Design Developers Hotels Luxury People Restaurants Town Houses

Chelsea Harbour + Chelsea Harbour Hotel London

Suite Success

Chelsea Harbour River Thames London © Lavender's Blue Stuart Blakley

Over the course of multiple visits – breakfasts and brunches, dates and dinners, walks and weekends – Lavender’s Blue cover and discover and rediscover London’s best Eighties development. Back in the day, Astrid Bray was Director of Sales and Marketing at the Conrad London (as Chelsea Harbour Hotel was originally named). She recalls various Chelsea Harbour restaurants, “There was Ken Lo’s Memories of China and Viscount Linley’s Deals. Marco Pierre White’s The Canteen was owned by Michael Caine, a great friend of ours. Deals was opposite The Canteen on the same side as Ken Lo’s. There was a pool table bar called Fisher’s. We would bring pop groups like Westlife through the loading bay to get to the bar!” A shortage of celebrities was never an issue. “Robbie Williams bought an apartment in The Belvedere opposite the hotel. Take That and Tina Turner stayed in the Conrad. We had a lot of fun there. One night I sat on the grand piano in the bar while Lionel Richie played and sang! There’s nothing in life that isn’t slightly mad!”

Chelsea Harbour Thameside © Lavender's Blue Stuart Blakley

Chelsea Harbour, all seven hectares of it, is a defining development of late 20th century London. Despite its Thameside location, the former industrial site had been poorly connected and blighted by infrastructure proposals. Architect Ray Moxley of Moxley and Jenner won a competition organised by landowner British Railways Property Board to design a mixed use scheme. “It seemed obvious to excavate the old harbour, rebuild the lock, repair the walls and form a new yacht harbour,” Ray remembered. “Harbours are always pleasant to watch and enjoy and property values are higher on the waterfront.” Honfleur provided inspiration. That town in northern France has houses and shops and bars and studios grouped around a lock on the mouth of the River Seine.

Chelsea Harbour River View © Lavender's Blue Stuart Blakley

The triple level penthouse of The Belvedere merited its own brochure in the original marketing of Chelsea Harbour. Designed by Mary Fox Linton, the “interior of contrasts” included Seguso urns in the entrance hall and Hurel furniture in the reception room. “Fine views of the Thames on one side and upstream towards Richmond on the other” were rightfully recorded. The kitchen was fitted out by Bulthaup and the “warm intimate” guest bedroom had an Alvar Aalto table and 18th century chairs. Apropos to a flagship scheme, Ms Linton’s rejected chintz for eclectic minimalism.

The Belvedere Chelsea Harbour Thames © Lavender's Blue Stuart Blakley

Grouping is key to Chelsea Harbour’s aura of containment. The marina is tightly ringed by the hotel, Chelsea Harbour Design Centre and apartment blocks. Ray’s genius was to create a sense of place. The tallest apartment block, the 20 storey Belvedere, next to where the marina flows into the river, is topped by a whimsical witch’s hat roof. A maquette version of this roof tops the security pagoda entrance to Chelsea Harbour. Ray excelled at roofscapes sculpting a cornucopia of pyramids, swan necked pediments and mansards.

Chelsea Harbour Scheme © Lavender's Blue Stuart Blakley

The Belvedere Chelsea Harbour © Lavender's Blue Stuart Blakley

Chelsea Harbour Boats © Lavender's Blue Stuart Blakley

Chelsea Harbour Apartments © Lavender's Blue Stuart Blakley

Chelsea Harbour Marina © Lavender's Blue Stuart Blakley

Chelsea Harbour London © Lavender's Blue Stuart Blakley

Chelsea Harbour London Apartment © Lavender's Blue Stuart Blakley

Chelsea Harbour Hotel London © Lavender's Blue Stuart Blakley

Chelsea Harbour Design Centre and Hotel © Lavender's Blue Stuart Blakley

Chelsea Harbour Hotel and Design Centre © Lavender's Blue Stuart Blakley

Chelsea Harbour Hotel © Lavender's Blue Stuart Blakley

Chelsea Harbour Offices © Lavender's Blue Stuart Blakley

Chelsea Harbour Gatehouse © Lavender's Blue Stuart Blakley

Chelsea Harbour Design Centre © Lavender's Blue Stuart Blakley

Chelsea Harbour Design Centre Dome © Lavender's Blue Stuart Blakley

Chelsea Harbour Design Centre New Entrance © Lavender's Blue Stuart Blakley

Chelsea Harbour Hotel View © Lavender's Blue Stuart Blakley

Chelsea Harbour Hotel Sign © Lavender's Blue Stuart Blakley

The architect was also adept at architectural playfulness, from reinterpreted Trafalgar balconies to oversized industrial metal window frames. The Design Centre is lit by tall glazed domes, ogee roofed conservatories and outsized neo Georgian windows topped by fanlights. Chunky columns and bulky balustrades add to the sense of gargantuan scale. Ray Moxley died in 2014 aged 91. Architectural practice APT is now encasing more of the original mall in glass to form an internal street. Lead architect Robin Partington enthuses, “We have the best jobs in the world. It’s all about curating, whether designing the interiors of an office development or masterplanning a scheme.”

Chelsea Harbour Hotel Bedroom © Lavender's Blue Stuart Blakley

Chelsea Harbour Hotel is shaped like half a butterfly, with two wings hugging the marina in an architectural embrace. The top of the tips of the wings culminate in oriels in the sky. Undulating waves of balconies swirl and curl their way across the elevations. The hotel looks like a grounded ocean liner. Earl Snowdon’s eatery Deals, which he launched in 1988 with his cousin Lord Lichfield, may have long gone but there’s always Chelsea Riverside Brasserie on the raised ground floor of the hotel. And yes, the view lives up to its name. The Canteen is also confined to history and memory. Its à la carte menu for October 1997 priced starters (featuring frivolity of smoked salmon and caviar) from £6.95 to £8.50 and mains (such as escalope of salmon with stir fried Asian greens, ginger and soya dressing) were all £12.95. These days, Chelsea Harbour Hotel room suite service caters for midnight munchies. Hand dived scallop ceviche at 2am? Yes please. Chelsea Harbour Hotel is the only all suite five star hotel in London.

Chelsea Harbour Hotel Piano © Lavender's Blue Stuart Blakley

The cruise ship inspiration wasn’t just confined to the exterior: it flowed indoors too. “David Hicks designed the hotel interiors in 1993,” explains Astrid. “It was all about a ship. He believed, ‘Themes are always intriguing.’ The mezzanine stairs were modelled on a cruise liner. The ground floor meeting room was called The Compass Rose. There were lots of blues and light ash wood in the interiors.” It was a real era catcher. One of David’s best known earlier works was his colourful revamp of Baronscourt, the Duke and Duchess of Abercorn’s seat in County Tyrone. Wallpaper by his designer son Ashley Hicks is for sale in Chelsea Harbour Design Centre.

Chelsea Harbour Hotel Restaurant © Lavender's Blue Stuart Blakley

Chelsea Harbour is the private members’ club of the marina world with a record breaking six year minimum waiting list. The luckily berthed include: Achill Sound; Ariadne; Christanian II: Ella Rose; Esperance; Honey Rider; and (guess which actor’s?) The Italian Job. A four bedroom Lamoure yacht is currently for sale at £249,000. Back on dry land, the range of properties on the 2020 market include: a two bedroom duplex penthouse (92 square metres) in Carlyle Court for £1,000,000 | a two bedroom third floor apartment (90 square metres) in King’s Quay for £1,200,000 |  a two bedroom duplex penthouse (112 square metres) in Carlyle Court for £1,250,000 | a three bedroom 14th floor apartment (194 square metres) in The Belvedere for £3,200,000 | a four bedroom ninth floor apartment (186 square metres) in The Belvedere for £3,300,000. Splashing the cash is one sure way to make a visit permanent.

Chelsea Harbour Hotel Corridor © Lavender's Blue Stuart Blakley

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Luxury People Restaurants

The House of Lavender’s Blue + Chef Francesco Bardotti

Polyphonic High Notes

Chelsea and South Kensington Houses London © Lavender's Blue Stuart Blakley

A plane crossing the cobalt blue sky – spring is truly here – is a rare occurrence. A daily event at most. There are more joggers on the roads than cars. We go for a walk (self isolated of course) through the silent cherry blossom festooned streets of Mayfair. In St James’s Park a grey squirrel jumps out from a scramble of fellow squirrels, ducks and pigeons, and tamely climbs up our legs. Harrods’ famous shop window displays now feature rainbows inspired by Sir Peter Blake’s new drawing. The pop artist’s rainbow has become the symbol of the city at this time. On the way home, walking along the Thames riverside, a moored party boat devoid of partygoers incongruously blasts Donna Summer’s “I feel love”. A swan glides by. Such is London living during the current health crisis. More ‘homecation’ than ‘staycation’.

Nine Elms London © Lavender's Blue Stuart Blakley

Nine Elms Vauxhall London © Lavender's Blue Stuart Blakley

Nine Elms Battersea London © Lavender's Blue Stuart Blakley

Cheyne Walk Chelsea London © Lavender's Blue Stuart Blakley

Cherry Blossom Chelsea London © Lavender's Blue Stuart Blakley

Squirrel St James's Park London © Lavender's Blue Stuart Blakley

Squirrel and Two Pigeons St James's Park London © Lavender's Blue Stuart Blakley

Heron St James's Park London © Lavender's Blue Stuart Blakley

Duck St James's Park London © Lavender's Blue Stuart Blakley

Harrods London © Lavender's Blue Stuart Blakley

Chelsea Physic Garden London © Lavender's Blue Stuart Blakley

Tulips Chelsea Physic Garden London © Lavender's Blue Stuart Blakley

Cheyne Walk London © Lavender's Blue Stuart Blakley

Shepherd Market Restaurant Mayfair London © Lavender's Blue Stuart Blakley

Hide Restaurant Mayfair London © Lavender's Blue Stuart Blakley

Francesco Bardotti Canapes © Lavender's Blue Stuart Blakley

Earlier, we’d glimpsed through locked gates the botanically medicinal four acre wonder that is Chelsea Physic Garden, an attraction established in 1673 by the Worshipful Society of Apothecaries. The melancholic mood had lingered in the air. Our favourite afterwork haunt Shepherd Market, a huddle of intimate international restaurants from French to Turkish to even Polish-Mexican, had been eerily quiet. Spookily so. Passing Michelin starred restaurant Hide, we’d been reminded that its Chef Ollie Dabbous was always ahead of the curve. Even before the crisis, he launched ‘Hide at Home’ to deliver superlative cuisine chez vous. The all day service includes sommelier recommendations from Hedonism Wines.

Francesco Bardotti Standbychef Canape © Lavender's Blue Stuart Blakley

We catchup (virtually) with Ollie who explains, “The only difference between home delivery fine dining and a regular experience in my restaurant is the tableware. We use exactly the same high quality ingredients and preparation.” Online catering companies are one of the few services to be flourishing in London at the moment. Italy born Switzerland trained Russia experienced England based Chef Francesco Bardotti is celebrating the 20th anniversary of his canapés delivery service StandByChef. Later, we give into temptation and order Francesco’s appetising appetisers (beetroot hummus; brie and quince; and mushroom truffle) to enjoy on our secluded terrace. “You don’t need to worry about anything!” he says reassuringly. If we can’t go fine dining, fine dining can come to us.

Francesco Bardotti Canape © Lavender's Blue Stuart Blakley

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Architects Architecture Developers Luxury People

Montevetro Battersea London + Taylor Woodrow

It’s Enough to Get the Dopaminergic Neurons of Your Ventral Tegmental Area Stimulated Into Overdrive

Ulster Architect Montevetro Battersea London © Lavender's Blue Stuart Blakley

A little over 22 years since the quadruple page spread was published in Ulster Architect (for decades Ireland’s leading architectural magazine published and edited by Anne Davey Orr), it seems like an opportune moment to revisit Montevetro. It truly was the trailblazing residential scheme that set alight the southwest bank. It’s hard to imagine that Battersea hasn’t always been fashionable but back then it was a backwater (no pun). Montevetro was the architectural lovechild of Taylor Woodrow, one of the largest housebuilding and construction companies in Britain, and architects Richard Rogers Partnership. A mere eight years after Ulster Architect published this seminal piece, Taylor Woodrow merged with its rival George Wimpey, to form the nation’s leading housebuilder. Taylor Wimpey Central London sprung up as the capital’s developer arm of the plc, attracting some of the hottest talent in the property industry. Swapping CGIs for photographic art, the wordage remains more or less the same in this replication of the original feature. Here goes.

Riverside View Montevetro Battersea London © Lavender's Blue Stuart Blakley

“Everyone is raving about it – planners refer to it as ‘sustainable housing’ and developers call it ‘New York style studio living’ – that is, the late 20th century phenomenon of inner city redevelopment. Rising like a shining phoenix from the grey ashes of urban desolation in London is Montevetro, a contemporary block of pied-à-terres along the River Thames opposite Chelsea Harbour. Designed by the Richard Rogers Partnership, it is one of the most arresting examples of inner city redevelopment to date.

Thames View Montevetro Battersea London © Lavender's Blue Stuart Blakley

Lord Rogers: “At the time Wren rebuilt St Paul’s, he didn’t replicate the old cathedral but designed something of its own day. Montevetro  is a building for our era, but it respects its setting, not be deference but by sensitivity, to the context.”

Montevetro Battersea London Taylor Woodrow © Lavender's Blue Stuart Blakley

When Richard Rogers Partnership took a critical look at the southwest bank site for what was to become Montevetro, the shortcomings of the existing buildings there became obvious. The old flour mills could have been converted to residential use but as lead project architect Marco Goldschmied says, “the drawbacks were apparent – an awkward plan and inconvenient layout would have deprived a third of the apartments of any river view and prevented the possibility of creating a significant new public space along the Thames.”

River View Montevetro Battersea London © Lavender's Blue Stuart Blakley

The site was typical of many along the river: it had great potential but in reality it was fairly depressing. The redundant industrial buildings, objects of no beauty, formed an impenetrable barrier between the river and the neighbouring streets. Extending to the very banks of the Thames, they also blocked the path of the river walk (a popular public amenity gradually extended in recent years) and overshadowed Battersea’s ancient parish church – Listed Grade I.

Thames River Montevetro Battersea London © Lavender's Blue Stuart Blakley

The Rogers strategy was to capitalised on the riverside setting and to insist that every apartment in the scheme had a view of the river. The new building reflects that strategy. At first glance it resembles a slender wedge, its river frontage entirely glazed to maximise the views from the large reception rooms. At the rear are the bedrooms behind a more solid façade – a practical device but one which allows the building to reflect the mature of the surrounding streets, with their interesting mixture of architecture dating from the 17th to the 20th centuries. A building or buildings? Montevetro is really the latter: a linked group of buildings which step up from three storeys close to the church, to a sensational 20 storeys at the northern tip of the development. “Respecting the setting of the church was a key consideration,” says Marco. “It is a rare survival but it had been treated with scant respect in the past. We spent a lot of time studying the impact of the development on views of it from along and across the river. The result will be that its impact will be much enhanced.”

Tower Montevetro Battersea London © Lavender's Blue Stuart Blakley

Montevetro Battersea London © Lavender's Blue Stuart Blakley

Montevetro Battersea Taylor Woodrow London © Lavender's Blue Stuart Blakley

Sunlight Montevetro Battersea London © Lavender's Blue Stuart Blakley

Roofline Montevetro Battersea London © Lavender's Blue Stuart Blakley

Taylor Woodrow Montevetro Battersea London © Lavender's Blue Stuart Blakley

Railings Montevetro Battersea London © Lavender's Blue Stuart Blakley

Balcony Montevetro Battersea London © Lavender's Blue Stuart Blakley

Beach Montevetro Battersea London © Lavender's Blue Stuart Blakley

Boat Montevetro Battersea London © Lavender's Blue Stuart Blakley

Lord Rogers: “I’ve lived in London for 40 years and I’ve come to realise that the Thames is the real heart of London. Unfortunately, much of the river is virtually invisible to even those who live close to it – shut off by decaying industry and dereliction and frustratingly inaccessible.”

Boat Battersea London © Lavender's Blue Stuart Blakley

The Rogers team was keen to achieve a scale appropriate for the Thames. Small suburban scale buildings would have looked insignificant along its broad banks. Montevetro has grandeur which is tempered by a concern to be neighbourly. The apartments are pulled back from Battersea Church Road, where the residential leisure suite respects the proportions of nearby houses. Marco shares Richard Rogers’ concern for public space. The new development provides a spacious public garden which reads as an extension of the adjacent churchyard and creates a new context for the church. “A complex like this has to balance the interest of the residents, who naturally want privacy and security, with those of the public,” says Marco. Residents can enjoy their own shared private garden, set back from the river and slightly elevated above the public park.

Sail Montevetro Battersea London © Lavender's Blue Stuart Blakley

Lord Rogers: “It isn’t just buildings which make a city – public spaces matter just as much. The Pompidou Centre in Paris, for example, is linked to a great piazza which teems with life.”

Windcatcher Montevetro Battersea London © Lavender's Blue Stuart Blakley

The Rogers team gave prolonged thought to the issue of materials. At Montevetro, the mix is sophisticated. The strict grid which is central to the design is used to carry a system of panels, infilled with terracotta on the eastern elevation, giving the required solid effect. The futuristic penthouses are highly transparent, with view on both sides from lofty studios. The contrast between surrounding sturdy Victorian brick and the airy lightweight grace of Montevetro will add a sexy new dimension to the riverside scene.

Garden Montevetro Battersea London © Lavender's Blue Stuart Blakley

Lord Rogers: “Living in the city is a vote for the city. Fortunately, lots of younger people are voting for the city and living there so that they can spend time enjoying life and not battling with the chore of commuting.”

St Thomas's School Battersea London © Lavender's Blue Stuart Blakley

Richard Rogers Partnership believe that their new development is not a simplistic statement but rather is an intricate piece of urban design – a carefully considered vertical village to address immediate and wider contexts. Marco Goldschmied is convinced that it meets the needs of a particular social group: affluent, highly mobile, cosmopolitan in outlook and not content to decamp to the suburbs. “In contrast to other countries, we expect people to decamp to the suburbs to live in conventional houses when they achieve a certain position in life,” he comments. “Montevetro is a belated recognition that there are plenty of people who have ‘made it’ but actually want to live in the heart of London, with all the amenities that the city offers in easy reach.”

Church Montevetro Battersea London © Lavender's Blue Stuart Blakley

Whether or not you actually like Montevetro is, of course, a matter of personal taste. To us, striking arrangement as it is, we can’t help thinking that from a distance it vaguely looks like a group of Docklands offices. On closer inspection, its residential purpose becomes totally apparent as the tiers of towering terraces come into view. Maybe it is just a question of adjusting our view of the form domestic architecture should take. After all, the Lloyd’s Building readjusted most people’s perception of what a white collar workplace could look like. Montevetro – it’s certainly a cutting edge architecture and concept.”

Church Spire Montevetro Battersea London © Lavender's Blue Stuart Blakley

Montevetro is aging well. Incredibly well. Like a good Malbec or a high cheek boned former model. City centre apartment living is no longer novel. Quite the opposite. And on the publishing front, if anything, today’s photographic art outsells yesterday’s CGIs. The narrative has become more augmented. Somehow the sharp contrast between the high tech architecture and neoclassical church has mellowed with time. And as for the area’s fashion status: a Russian oligarch has snapped up Old Battersea House, a smooth pebble’s throw from the scheme; the future king goes to St Thomas’s School round the corner; and on a sunny Friday evening you’ll find the best photographers and writers and planners and models in town chilling in Battersea Square. That’s how it is.

Church Wall Montevetro Battersea London © Lavender's Blue Stuart Blakley

Categories
Architects Architecture Country Houses People

Glenmore House + Cushendun Harbour Antrim

A Hymn to the Lost Pastoral World of the Anglo Irish

Cushendun Coast County Antrim © Lavender's Blue Stuart Blakley

Top Irish architect John O’Connell knows Cushendun well. “Clough Williams-Ellis represents his era correctly,” he affirms, “using a fine palette. His architecture is so reticent. There is an early German flavour to it. He was blessed with a prudent patron at Cushendun.” Clough was a strong believer in contextualism, commenting, “How often one may see new houses that are like swaggering strangers… that have insolently plunked themselves down on the edge of a cosy little gossip party and been properly left out in the cold. They have made no gesture of salutation, no concessions, no effort to make themselves agreeable to the architectural traditions of the place, and in return the old village just will not, cannot, know them.”

Glenmore House Cushendun Facade © Lavender's Blue Stuart Blakley

Belfast based architectural historian James Curl wrote a seminal feature on Cushendun titled “Antrim’s Discreet Holiday Resort” for Country Life in 1976. “The area known as The Glynnes, or Glens, of Antrim comprises the northeasternmost part of Northern Ireland. This article will describe the character and development of Cushendun, a small village on the shore at the eastern end of Glendun, one of The Nine Glens of Antrim. The coastal regions of The Glens are in sight of Kintyre and Islay, and from the earliest times there has been a close relationship with the lands across the Moyle. Yet The Glens are essentially Irish in character. Gaelic was spoken in the valleys until comparatively recently, and the area is rich in its own legends and history. From these glaciated valleys an adventurous people set out to establish rule over much of what is now Argyll, and the first kingdom of Dalriada was established. The hardy, independent nature of the Glensmen ensured prolonged resistance to Elizabeth’s generals in the 16th century, while the territories’ isolated position left language and religion relatively intact.

Glenmore House Cushendun Side Elevation © Lavender's Blue Stuart Blakley

Taken as a whole, The Glens contain some of the most beautiful scenery in Ireland. While each has its own champions, Glendun inspires its own partisans, for it has a gentle charm quite unlike its more spectacular sisters. To the west, it is narrow and wooded, where its river tumbles over dark stones seta mong mosses, heathers, and ferns. It widens at its eastern end, and becomes a lush landscape of small fields with hedges that in summer are aglow with wild fuchsia.

Until just over a century ago, Glendun was one of the most inaccessible of The Glens, but this was dramatically changed when the Royal Military Road was constructed in 1833 to 1834. This road brought tourists to the fashionably romantic landscapes, and, ultimately, to enjoy the newly approved bathing in the wide and lovely bay that joins Glendun to the sea. Thus, from the reign of William IV, Cushendun developed as a discreet holiday resort, in a landscape of ravishing beauty. In 1817, R S Dobbs could describe the hamlet of Cushendun as ‘handsome’ and having ‘some very romantic spots in it’, including the curious caves of conglomerate rock that lie south of the village proper, and through which access may be had to the Caves House, formerly the home of the Crommelin family. Although tiny, Cushendun is the nearest port to Great Britain in Ireland, and it was this that prompted the Crommelins in 1830 to commission a design from John Rennie for a harbour known as Port Crommelin. However this scheme never materialised. Today, there is a modest harbour at the mouth of the river, and the natural features give us a clue to the name ‘Cushendun’, for the Irish Cois-abhann-Duine means ‘the end of the brown river’. The stone bridge at the western end of harbour was constructed in 1860 and recently has been inelegantly widened…

The building of the churches, the opening of The Glens, the fashion for sea bathing, and peace helped Cushendun to prosper, and sturdy dwellings replaced the humbler huts of the past. The architecture of Cushendun is mostly of a traditional 19th century vernacular type usual in Irish villages. The main street of Cushendun leading from the bridge to the parish church has its post office and shop, while McBride’s Pub, near the river, provides a convivial focus…

To the west of Main Street is the first group of outstanding character. This is known as The Square, and consists of two storeyed terraces planned symmetrically around a courtyard garden that is entered between massive gate piers. The terraces are linked by arches at the corners. An elliptical slate tablet in the central gable is inscribed with a date and the initials ‘RMcN’ and ‘MMcN’ commemorating Ronald McNeill and his wife Maud who were largely responsible for the appearance of modern Cushendun. Maud was Cornish and ‘loved The Glens’, according to her tombstone under a Celtic cross in the Parish courtyard, and it was largely through her that Clough Williams-Ellis was commissioned to enhance the village, starting with The Square, built in 1912.

After the ‘bathing lodge’ was burned down, Williams-Ellis designed and built Glenmona House in 1923 for the McNeills in a pastiche Regency style. The architect then added Maud Cottages, by the Green, in 1925. These consist of two storey terrace houses, with the upper part slate hung in the manner of Cornish coastal villages. The contribution of the architect and the McNeills to the beauties of Cushendun cannot be overestimated.

Main Street, the church, Glenmona House, and the cottages are all to the north of the river. To the south is a range of hotels. Following the war years, the future of Cushendun caused concern. It was recognised that the village and its surrounding area were of great beauty and importance, and so in 1954 some 62 acres of Cushendun north of the river were acquired by the National Trust through the Ulster Land Fund, and further acres adjoining the beach were purchased in 1965 with the aid of Enterprise Neptune Funds. There is a considerable problem with erosion of the beach, not only through over-use by holidaymakers but through farmers removing sand for agricultural purposes. Boating interests are encouraged by the Trust with improvements to the harbour, while grazing rights on surrounding lands are leased on the conacre system.

Glenmore House Cushendun Side Entrance © Lavender's Blue Stuart Blakley

The Trust, mindful of the desirability of encouraging a traditional way of life, lets cottages to local people rather than to persons requiring holiday homes. There were problems in upgrading the existing houses to comply with modern standards, but generally this has been achieved with little damage to architectural character. The Trust, by means of covenants, ensures that properties are adequately maintained, and more care than is usual in Northern Ireland has been taken over the design of 24 new dwellings for public housing. While covenants appear to work in the Trust’s own lands, proper conservation policies for Cushendun as a whole are necessary. A Conservation Area should include the Caves, the hotels, and the whole of the village, and enhancement of this national treasure should be the goal.”

Cushendun County Antrim © Lavender's Blue Stuart Blakley

So there it was and here it is. Four years after James Curl’s Country Life plea, the village and surrounding lands of Cushendun were designated a Conservation Area. The Caves have found new fame as a Game of Thrones destination. And yet, and yet. Randal McDonnell, Viscount Dunluce, son of the 14th Earl of Antrim, recently captured the underlying issue, “This is an extremely remote location hemmed in by The Glens.” He should know: his family used to own 133,000 hectares of Country Antrim: “Basically the top half.” A melancholic peace has descended upon Cushendun, these days a not so much discreet as forgotten holiday resort. The The National Trust’s Glenmona House is a little frayed round the edges. Cushendun Hotel and its once hospitable neighbours facing the harbour stand forlornly empty, the only visitor a grazing goat sporting a high viz yellow jacket.

Cushendun Hotel County Antrim © Lavender's Blue Stuart Blakley