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Whitehaven + Copeland Cumbria

Coming Home

A visit to a bookshop is never a waste of time: Michael Moon Old Books in Whitehaven is a case in point. The founding owner says, “I, Michael Moon, came to West Cumberland from Chorley in Lancashire in early 1965 to work at the new West Cumberland Hospital, the first new UK post War NHS hospital. I worked there for five years training as a State Registered Nurse … and took early retirement at 26.”

He says, “I took a fork in the road and started an old bookshop, this being my fourth location. I moved onto the main street – Lowther Street where all the banks once were – and have been here since 1997 and have outlived them all. Since then all the banks and the general post office have closed down, some later becoming unofficial illegal cannabis farms.”

On Michael Moon Old Books: “I have been selling books in 45 countries for 56 years long before the internet, and have written 10 books about the town. I have sold over 50,000 copies and republished another 30 titles, some as many as six times. We have sold over 750,000 books and have never been out of work. We have in stock 30,000 books housed on a mile of shelves in 13 rooms and have 9,000 books on ABE on the internet. I only work in the afternoons now. My son Peter runs the shop at other times and does the local house calls.” Rare finds include The Works in Architecture of Robert and James Adam (1931) stamped Buscot Park, Faringdon (Oxfordshire). Bright young thing Robert Heber-Percy was the early 20th century owner of Buscot Park. It is now owned by the National Trust.

Whitehaven A Directory for 1954 was adapted and republished by Michael in 2012. Why choose an out of date directory to republish? “Because it is full of useful material. Local information you would find hard to obtain anywhere else. Few directories contain as comprehensive a street directory as does this one, where the name of every householder is printed street by street, house number by house number, from one end to the other. If you ever thought of yourself as a statistic, think again.”

On his background: “I came from a Victorian Lancashire cotton town to an old coastal town I didn’t know, which has forgotten more history than most towns could ever lay claim to know. I live on Roper Street on the site of The Theatre Royal, a Georgian theatre. Opposite it is where the Brocklebanks started what became the Cunard Line. Further up the street at Acorn House seaman Peter Heywood lived, a mutineer on The Bounty. Across the road Carlisle Spedding lived, who sank the first undersea coal pit in the world, the Saltom Pit.” Carlisle was principal colliery steward to the Lowther landed family, responsible for their mining interests from about 1730 to 1755.

On heritage: “George Washington’s grandmother Mildred Warner Gale is buried across the road from my shop in St Nicholas churchyard. The exact location has been lost and sadly no headstone to mark the plot. Jonathan Swift, author of Gulliver’s Travels and so on, spent his first five years here living in Whitehaven at the Bowling Green overlooking the busy harbour from which 300 locally built ships exported coal to Ireland – which has none – on every tide.”

On more heritage: “John Paul Jones who became Father of the American Navy was apprenticed here and invaded the town in 1778 after the War of Independence. When I came to work here we had over 100 working pubs – now just nine survive – several coalmines, a chemical works, a flourishing fishing industry and two railway stations. Like many old towns it was always self sufficient. Here you could buy a gun, a barrel of rum, a pair of clogs, a mile of railway lines, a long case clock or a barometer and speak to the men who made them. The long case clock in 10 Downing Street is a Whitehaven clock. The list goes on and on.”

What makes Whitehaven special? “The people, the age of the buildings, the first post medieval planned town, the third busiest harbour – regarding tonnage, mostly coal to Ireland – in the country after London and Bristol. My favourite building is 19 to 20 Irish Street which was designed by Sydney Smirke who also designed the Reading Room in the British Museum in the High Renaissance Italianate style. Will this do for now?”

Nikolaus Pevsner (1967) and Matthew Hyde (2010) sum up Whitehaven in The Buildings of England Guide to Cumbria: “A 17th and 18th century planned town of great charm, breezily colour washed and filled with the sound of seagulls. Favoured with coal deposits and a natural harbour, it was developed as a port by the Lowthers: first Sir Christopher who built a quay in 1634 by the village which clustered around Pow Beck where the Market Place is today, then Sir John a Fellow of the Royal Society at the time of Wren, Hooke and Evelyn and the rebuilding of London after the Great Fire. His instructions from London to his steward begin in 1666.” Boom times continued for over two centuries.

Whitehaven Cumbria

A Guide to Whitehaven by Edward Burrow (1907) and reprinted by Michael Moon (2020) states, “Whitehaven is a municipal and parliamentary borough and market town in St Bees’ Parish, Cumberland, and stands on the west coast, 12 miles south of Maryport and 28.5 miles from Keswick. Of its history prior to the year 1620, there are few authentic records. At that date it began to acquire importance under the influence of the Lowther family, its export of coal raising it to the position of a considerable seaport.”

As Michael points out, the main export was coal, especially to Dublin: iron and salt were also shipped out of Whitehaven. Other imports included tobacco, rum, grain, sugar and timber. Ships were built. But the seeds of the town’s decline were already sewn in the limited nature of this trading and the geographical isolation. Coal exports peaked at 400,000 tonnes in 1928 and ceased six decades later. Opening in 1947, Sellafield nuclear site provided a new source of employment but touristy Lake District cuts off Whitehaven.

Whitehaven CumbriaWhitehaven CumbriaSomerset House Whitehaven CumbriaWhitehaven CumbriaWhitehaven CumbriaWhitehaven CumbriaWhitehaven Cumbria

A Study in Conservation by Winston Barnett and Cyril Winskell (1977) traces the history of late 20th century conservation practice using Whitehaven as a case study. The boom and decline of the town are recorded. Copeland Borough Council designated Whitehaven Town Centre and High Street as Conservation Areas in 1969. Eventually around 250 buildings would be Listed. The Council and British Nuclear Fuels (owner of Sellafield) joined forces to launch a restoration and renewal project.

Winston and Cyril write, “Fortunately the Council’s portfolio of 50 or so Listed and historic Georgian properties, although spread over the town, were grouped in lengths of street frontages and not individually scattered throughout the terraces of houses, so it was considered that a major impact could be achieved in improving the town’s historic fabric if work was put in hand immediately on restoring the Council property.” Government funding was also provided.

Whitehaven’s significance as an early planned new town in England was recognised. Street patterns were retained and reinforced with sensitively designed infill development. Two decades later BDP led by architect Peter Shuttlesworth oversaw the regeneration of the harbour. Today, the harbour area is well maintained. The town centre, not so much. Houses and churches and other buildings of astonishing beauty lie empty. The comprehensive conservation of the town centre half a century ago has long faded.

Whitehaven Cumbria

It seems that a historic core, coastal location and apron of countryside are not enough to place Whitehaven next to Kendal on the tourist map. Surely the town could be marketed for architectural tours? The efforts of the 1970s are at risk of unravelling. Every other building cries out to be smartened up as a boutique hotel. Do none of the well paid Sellafield workers want to splash their cash on period property?

The houses of Whitehaven have a distinct character. Recurring features in the 18th century architecture include very tall staircase windows stretching up several storeys, gable fronted facades and undulating window placement. The most extraordinary architectural feature in the town occurs twice according to Peter Moon: a seashell overdoor in place of a fanlight. It bears a striking resemblance to the backdrop of the studio of Hans Holbein the Younger’s Henry VIII portrait in Petworth House, West Sussex. Many of the 19th century houses are designed in an ornate Italianate style. Pevsner calls them “swagger houses”.

Petworth House

Juxtapositions there are aplenty. An eye joltingly brilliant example is found on Irish Street. Sydney Smirke’s six bay (with three bay wing) palazzo abuts a single bay (wingless) vernacular house. The three storeys of the latter are the same height as the two lower storeys of the former. To give a London comparison, it’s like a large block of Kensington Palace Gardens and a little bit of Roupell Street Waterloo thrown together. At 74a Market Street a minute newsagents called The Baccy Shack fills the width of a doorcase.

Pevsner states, “At the far end of Catherine Street where it crosses Duke Street, is one of Whitehaven’s most distinctive houses, Somerset House, a splendid vista stopper. Built in 1750 for Samuel Martin, it is cubic, stone faced, with tripartite windows without surrounds. This unusual severity is offset by a charming porch with clustered Gothick details, tripartite again, with a perron. A long row of chimneys faces down Duke Street.” Somerset House is an extraordinary sight from the side elevation row of eight chimneys to the pattern book porch held up by fourposter bed spindly colonettes to the landing window swooping up through three storeys. In 2016 it was converted from offices to seven flats.

Pevsner continues, “Opposite Somerset House is The Cupola, a grand house of 1708 to 1710 converted in 1851 into the Town Hall by William Barnes of London. He made two storeys in place of the original three, five bays in place of seven, and added the portico of four sturdy Doric columns and rear stair extension. Venetian windows on the ground floor to left and right, probably of 1851.” This elegant building is now offices.

On 1 April 1974 Copeland Borough Council amalgamated with Allerdale Borough Council and Carlisle City Council to form a new unitary authority called Cumberland Council. The Borough of Copeland had been formed by the merger of Whitehaven Borough, Ennerdale and Millom Rural Districts. The name Copeland is derived from the Norse word “kaupland” which means “bought land” rather than inherited land. According to Public Health England statistics, Copeland was the fattest local authority area in England in 2014 with three quarters of the population being stout. In 2018, the Office for National Statistics recorded that Copeland had the third highest median income of British local authorities, after the City of London and the London Borough of Tower Hamlets. This median does hide the considerable disparity between Sellafield employees and the rest of Copeland’s population.

Alan Routledge digs deeper in Copeland The Postcard Collection (2015), “Copeland was originally a barony set up by William II after the final conquest of Cumberland in 1092. Over the following years the barony was split into more convenient districts to govern.” On the 1974 amalgation he comments, “The conurbation of Whitehaven was industrial and Ennerdale and the rural parts of Millom were agricultural in nature. The Borough was headquartered at Whitehaven and it’s not surprising that there were political tensions in the Borough which led to differences over what needed to be done and where. People became tightly parochial in their outlook and sadly the Borough was rarely considered as being equal in its parts.”

“The Borough is close to 40 miles north to south and varies up to a maximum of 18 miles in width, between the Irish Sea coast and the tops of England’s highest mountains,” according to Alan. “The coast is 40 miles in length with miles of sandy beaches in the south and the high sandstone cliffs of St Bees to the north. One third of Copeland lies within the Lake District National Park and, in addition to the high mountains, also has Wastwater, England’s deepest lake. On 31 March 2023 after 49 years of operation, Copeland Borough Council was disbanded and replaced with Cumberland Council, one of two larger unitary authortieis covering Cumbria.” A 1610 map of Cumberland hanging in Michael Moon Old Books shows Copeland and Copeland Forest. Michael says, “Copeland is the coastal strip north of Furness and south of Workington. It is rarely referred to nowadays.”

Laterally Copeland is disappearing legally, linguistically and literally.

Copeland Cumbria

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Radio Bar + ME Hotel Aldwych London

Norman Architecture

Chilli squid tempura, king prawn tempura and white miso pavlova on the sun kissed roof terrace are the only way to mark the 12th anniversary of Radio Bar. It’s the last Monday before Passiontide but the working week has to start somewhere. In reverse Philip Larkin, the roof terrace is shaped to the comfort of the first to arrive. A joyous shot at how things really are, wide fallen long. At the eastern end of the terrace, the ornate gable of neighbouring Marconi House rises like a curling swirling treble clef carved of stone. Norman Shaw at his most expressive. The western end reaches a crescendo with Suite ME, a legibly lined bass clef in glass. ME Hotel is an architectural duet of contextuality and originality. Giving the musical metaphors a rest, it’s over to Norman Foster to discuss his composition:

“The triangular site of ME Hotel was once the home of the Gaiety Theatre which was damaged in World War II and then demolished to make way for a 1950s office development. Our scheme completes the grand sweep of early 20th century buildings, repairing the urban grain of this crescent. Everything from the shell of the building to bathroom fittings was designed by Foster and Partners. The restoration of Marconi House to accommodate 87 apartments seamlessly integrates with the construction of this 157 bedroom hotel. The hotel building corresponds in height, scale and material to its neighbour. Triangular oriel windows projecting from a Portland stone exterior capture a vista of The Strand while maintaining similar proportions to Marconi House’s fenestration. An elliptical corner tower defines the end point of Aldwych.”

Outdoors and indoors, everything is as monochromatic as a keyboard. The triangle is a complex instrument in the hands of Foster and Partners. Lesser talent would find a wedge shaped plan restrictive. Instead, one of London’s most exhilarating angular interiors forms the heart of the hotel. A tetrahedron ascends in ever decreasing triangles soaring 30 metres from the first floor reception lobby to a glazed apex. Architecture as captured light is taken to a new level. White marble lines the inside of the pyramid; corridors lean against the black marbled outer skin.

The glazed apex pops up as a petite pyramid in the middle of Radio Bar: a transparent splayed metronome. Distant views are of trophy towers, all with sobriquets in honour of their outlines, reaching for the sky in contrapuntal consonance. The Gherkin, Cheesegrater, Shard, Walkie Talkie … A joyous shot at how things really are, wide fallen high. Intermediate views are of the quad of Somerset House. Close views are of the glasshouses and skylights and chimneypots in the valleys between double pitched roofs, hidden from street level by parapets. There’s nothing new under the sun, but there’s plenty to wax lyrical about Radio Bar.

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Parkstead House + University of Roehampton London

Quotation Marks

Architectural historian Joan Alcock wrote an authoritative guide to the architecture of Parkstead House in 1980: “The main block, which faces Richmond Park, was built by Sir William Chambers as Parkstead House in the 1760s for William, 2nd Earl of Bessborough: this building is illustrated in Vitruvius Britannicus and described in the principal histories of Surrey. The Earl used the building as a country house, but on the marriage of his son Frederick, Viscount Duncannon, to Henrietta, daughter of Earl Spencer, he allowed the young couple to live there. Bessborough House, later Parkstead House, became the centre of their social and political life and this continued after Frederick had succeeded to his father’s title in 1793 and had inherited the principal residence in Cavendish Square.” The third Lady Bessborough’s scandalous daughter Caroline would marry William Lamb before pursuing Lord Byron. The 5th Earl sold the property and after a time as a Jesuit college it has been in educational use ever since.

She explains, “The design of Parkstead is based on the Palladian villa. The prototypes appear to be Colen Campbell’s Mereworth and Isaac Ware’s villa which he built in 1754 for the financier, Bourchier Cleeve, at Foots Cray, Kent, which was a severer version of Mereworth. The first design for the façade lacks an attic storey but its row of Ionic columns and arrangements of windows on the first floor was clearly inspired by Foots Cray. The drawing of the house in Vitruvius Britannicus reveals only two windows on the attic floor. In this case the centre front room would be lit entirely by skylights. One circular skylight still survives, having its original decoration round the rim. The room, however, is a large one and the skylight is needed to give extra light to the rear. The façade certainly has more attractive proportions without the windows, which appear to be rather uncomfortably situated above the portico but they are functionally necessary and were probably part of the original design.”

Joan sums up Parkstead House, “The treatment of the façade is strictly in accordance with Palladian principles as laid down by Lord Burlington and Colen Campbell. If anything, Chambers was more severe, reducing his ornament to a minimum.” Only the façade overlooking the parkland is faced in stone: all other elevations are of dark grey brickwork with stone quoins. Bridget Cherry and Nikolaus Pevsner record in The Buildings of South London (1983), “It was the first of several Palladian villas designed by Chambers in the early 1760s. They belong to the second generation of Palladian houses in England … The prototype for the façade appears to have been Bourchier Cleeve’s Foots Cray, built in imitation of the Villa Rotunda circa 1756; but the obvious inspiration for a villa in the London countryside, that is a relatively modest rural retreat rather than a full scale country house, was of course Chiswick House … In the garden is a circular entablature from the portico of a circa 18th century garden temple (the rest in store).” The simple plan of the piano nobile is replicated on the bedroom floor above. A central three bay room behind the portico is flanked by single bay rooms. These three rooms are three bays deep with shallower rooms to the rear. A square staircase hall is behind the portico room.

Nobody is better qualified to critique Sir William Chambers’ work than architect John O’Connell. One of his many professional achievements was brilliantly restoring the Casino Marino in Dublin, arguably Ireland’s greatest neoclassical building. This distinguished design may appear as a single bay single storey structure but as Jeremy Musson, architectural historian for Country Life, enlightens: “Casino Marino is a three dimensional jigsaw puzzle. Depending how you count them, there are some 13 rooms inside.”

John declares, “Sir William Chambers’ work at Parkstead House is about refinement, rebooted Palladianism. There is a real sensitivity and finesse at play. The elevations need a parapet though as there is a certain squatness without one. Everything has been sacrificed for the pediment and the fully expressed portico. The ironwork is painted Somerset House blue. That was his first essay in town planning. It is devalued now being away from the River Thames where once it was rather like a Venetian palace. The Embankment cutting it off from the river was the solution to water stagnation.”

Indoors he observes the plasterwork in one room, “That is a very correct cornice and four fantastic urns. It’s so delicately handled.” In another, “The frieze isn’t right and speaks of later Edwardian modillions. There’s a solecism – the garland should be central.” And as a whole, “This house demonstrates a commitment to good materials following the French noble material hierarchy, from the state rooms on the piano nobile to the rustic rooms in the raised basement. The house as temple on a robust scale.” A framed sign dated 1980 on a corridor wall sets out:

  • “Parkstead built as a Palladian villa or summer residence by Sir William Chambers for the 2nd earl of Bessborough. The 3rd Earl lived here for much of his life until the death of his wife Henrietta in 1821.
  • The 3rd Earl leased the house to a banker, Abraham Robarts, who made it his permanent home until his death in 1858. Robarts made many improvements, including constructing a well and pump to provide a water supply.
  • The 5th Earl sold the house and estate to the Conservative Land Society for division into smallholdings. However, it was eventually sold, in conditions of some secrecy, to the Society of Jesus for use as their Noviciate.
  • The Jesuits moved in and this began the occupancy which was to last for nearly 100 years. The name of the house was changed to Manresa in commemoration of the place in Spain where the founder of the Society, St Ignatius Loyola, composed the Spiritual Exercises which form the basis of the Jesuit rule. Many additions were made to the house during this period leaving it much as it can be seen today.
  • The Society left Manresa and among their reasons for doing so were the invasion of their privacy by high rise flats and the compulsory purchase of much of their land by the Greater London Council. The house now became part of Battersea College of Domestic Science and it was officially opened by the Right Honourable Shirley Williams MP, who also signed the order for its subsequent closure in 1979.
  • Manresa became jointly occupied by Garnett College and the Putney Adult Education Institute. In the early days, Lady Bessborough had run a small school here for local Roehampton children. The house has been associated with education for the best part of 200 years.”

Lady Bessborough’s educational legacy continues to seep through the walls of Parkstead House: it is now part of the University of Roehampton.

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Sir John Soane’s Museum Holborn London + William Shakespeare

The Cloud Capped Towers Shakespeare in Soane’s Architectural Imagination

Sir John Soane Museum Drawing Room © Lavender's Blue Stuart Blakley

Hot on the unclad heels of Sarah Lucas’s show at Sir John Soane’s Museum comes an exhibition marking the 400th anniversary of the death of Shakespeare. London is awash with Shakespeare festivities from Somerset House to Dr Johnson’s House. The Soanian exhibition is the best, the most intriguing, and is set in a superior interior. The playwright’s connection to the architect is far from tenuous. Quite the opposite in fact.

Sir John Soane Museum Dining Room © Lavender's Blue Stuart Blakley

“Soane comes halfway between Shakespeare’s time and ours,” muses Dr Frances Sands, Curator of Drawings and Books at the museum. Last spotted leading a tour of 20 St James’s Square, Fran is one of a trio of erudite academics on duty. “The bard’s reputation was really only fully established in the 18th century Georgian period. He wasn’t a national hero before then. It kicked off, in part, with the actor David Garrick. And the Shakespeare Ladies Society! Soane, as an educated gentleman, was a collector of Shakespeariana.”

Sir John Soane Museum Passageway © Lavender's Blue Stuart Blakley

Professor Alison Shell of University College London, Guest Curator of the exhibition, adds, “Bibliophilia gathered pace as the 19th century progressed. Bibliomania! The madness of books! Soane acquired all four Shakespeare folios, a feat a private collector could never match now. One of the folios belonged to James Boswell. Shakespeare was something of a religion to Soane who venerated great men. Soane was a Romantic with a capital R!”

The exhibition space occupies two first floor galleries in the house to the left of the museum’s famous façade. “It was too tempting not to get out all four folios to make the point! Lovely!” smiles Alison. “It’s a celebration of the imaginations of Soane and Shakespeare.” The patronage of Dr Johnson’s friend Garrick is on display through actors’ portraits and theatre designs. Garrick commissioned both Soane and Robert Adam so another celebrated architect is represented. Indeed, Soane astutely purchased the full set of Adam’s office drawings.

Sir John Soane Museum Mausoleum © Lavender's Blue Stuart Blakley

Tying various artistic strands together is Soane’s drawing of George Dance’s front elevation of the Shakespeare Gallery on Pall Mall. Short lived and commercially disastrous, the design of the Shakespeare Gallery nonetheless was inspirational to Soane. Its flying saucer domes would later reappear at the Dulwich Gallery.

Sir John Soane Museum Dome © Lavender's Blue Stuart Blakley

Museum Archivist Sue Palmer points to a diary, “Rather charmingly, when Eliza and he went to visit their son studying architecture in Liverpool, Soane noted their visit to plays in Stratford-upon-Avon. So that’s rather fun!” All three academics concur that Soane was the most literary architect Britain has ever had. In 10 out of his 12 Royal Academy lectures he quoted Shakespeare. His interest in theatre, a medium obsessed with illusion, befits the great conjurer of space. Soane promoted Shakespeare as the supreme embodiment of English literature. The architect never knowingly undersold his talent. No doubt Soane was heavily hinting that he was the supreme embodiment of English architecture.

Reflection of Soane's Shakespeare Gallery Drawing © Lavender's Blue Stuart Blakley