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Sir Ernest George + Alfred Yeates + Buscot + Eaton Hastings Oxfordshire

A Tale of Two Hamlets

BuscotThe grand country estate of Buscot Park is flanked on Lechlade Road to the northwest by Buscot and to the southeast by Eaton Hastings. This pair of hamlets are as Cotswolds as it gets – full of ancient stone buildings in exquisitely pretty surroundings. Except they aren’t entirely ancient. Many of the houses date from the late 19th century and were built for the owner of Buscot Park, Sir Alexander Henderson. Their Tudoresque revivalist style gives the impression of being there a few centuries earlier.

BuscotMaterials are mainly local Taynton stone for walls and roofs. Features are chamfered bays, mullioned windows, half dormers and full gables. Architects Sir Ernest George and Alfred Yeates created a contextual vernacular aesthetic for these estate workers’ dwellings. Professor Hilary Grainger is the acknowledged authority on the architecture of Sir Ernest George (1839 to 1922).

BuscotBuscotBuscotBuscotBuscotBuscot BuscotBuscotBuscotBuscot ManorBuscot ManorBuscot Park GatelodgesEaton HastingsEaton HastingsEaton HastingsEaton HastingsEaton HastingsShe says, “He was not only one of the most successful and prolific of late Victorian architects but also an etcher and watercolourist of great distinction. His office occupied a position of significance for some 40 years, with over 80 assistants and pupils, including Sir Edwin Lutyens, Herbert Baker, Edward Guy Dawber, Darcy Bradell and Stanley Adshead passing through its doors in Maddox Street London.” Hilary notes George partnered with Thomas Vaughan (1836 to 1875), Harold Peto (1854 to 1933) and Alfred Yeates (1867 to 1914). It was Ernest and Harold who invented Pont Street Dutch (to recoin Osbert Lancaster’s phrase), the style of the red brick Cadogan Estate London which is the address of 11 Cadogan Gardens Hotel and The Franklin Hotel.

Eaton HastingsNot all of Ernest’s protégés would approve of his oeuvre. Later in life, Sir Edwin Lutyens said with rolling eyes that his former boss was, “An architect who took each year three weeks holiday abroad and returned with overflowing sketchbooks. When called on for a project he would look through these and choose some picturesque turret or gable from Holland, France or Spain and round it weave his design.” Ernest’s continuing enjoyment of historicist styles must have looked old fashioned and derivative to the forward thinking Edwin in his latter years.

Eaton HastingsThere’s at least one ancient stone building in Buscot. Or at least relatively ancient. Buscot Manor, owned by the National Trust who also owns the nearby Buscot Weir on the River Thames, dates from 1692. The five bay two storey with dormered attic symmetrical elevation overlooking the garden is quintessentially English. The equally symmetrical elevation overlooking the access to its grounds is just as charming. The past isn’t always a foreign country.Eaton Hastings

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The Franklin Hotel Knightsbridge London + Anouska Hempel

Franklin Minted

To be frank, it wasn’t the hardest decision in the world to while away a wintry Saturday afternoon, yes, the perfected world of a Saturday afternoon, wistfully tucked up in a swanky five star Knightsbridge hotel. Add Anouska Hempel (Lady Weinberg to you) to the mix, and it’s a given. The Franklin Hotel, retrieving the definite article, belongs to the family of London terraced houses turned boutique hotels by the New Zealand born designer, from the (very open) maximalist Blakes to the (now closed) minimalist Hempel. From the outside, it’s terribly similar to No.11 Cadogan Gardens. A Pont Street precursor perhaps? All candid brick elevations with canted bay windows. A cute crow stepped gable above a petite portico marks the entrance.

This stretch of Brompton Road between the V+A and Harrods caters for discerning Christian disciplines from Alpha (Low Anglican Holy Trinity Brompton) to omega (High Catholic Brompton Oratory). Ascetic or aesthetic? The Franklin is discreetly positioned on the streetscape, overlooking Egerton Gardens to the rear. Its red and white exterior gives way to monochromatic brilliance. The Lady has form. Blakes has plenty of black. The Hempel had plenty of white. Grey is the new black. A shadow play. Penumbra obscura. She has embedded a melismatic yet palpable narrative into the building’s very fabric. Before long it’ll be coloured by the exaggeration of memory. There’ll never a dull moment.

Anouska Hempel waxes lyrical on her latest creation, “The English love the Italians. The romance of Rome and Venice. All combined, opposite the Brompton Oratory, have become The Combination. Dark brooding greys and bright sparkling whites: floors of Carrara marble and slate. Garden windows abound onto a row of umbrella shaped pear trees. The glorious couture tables make the ground garden floor a sensation. I have had these made specifically to follow the floorplate. Venetian wells, piazzas, squares, dark greys with white punctuations. Mysterious.” Such moods, such moods and modulations.

Digging deeper, Loretto alumna Lady Weinberg, fresh from a stay at Abbey Leix, dwells on creation at large, “I hope that I have something more important to give the world than just what you see on the level of where I’m living at the moment. I think my mission is to bring peace and harmony and a sense of enjoyment, and also to bring something special into ordinary everyday life. I really have been very fortunate to have a little talent, and also incredibly fortunate to have had so many great opportunities. But I strongly feel that I am not the source of my own creativity, which must come from somewhere else.” Painterly, scholarly, otherworldly.

Bowing to mannerism, call it architectural etiquette, the palazzo look certainly isn’t by chance. This is the latest addition to Starhotels, an Italian family owned group. The bedlinen in each of the 35 bedrooms may be 400 thread count Italian Frette linen but the wrought iron balustrades of the enfilade were inspired by English conservatories. A mutual attraction | a binational lock-in love-in | a European commission. Anglophile Elisabetta Fabri, President and CEO of Starhotels, tipped off the designer about her passion. Anouska took it to fruition – with rigour. Hers is a symmetrical staging of sculpture: discovered, framed, mounted, foreground, background, grounded, released. Walls fading to trompe l’oeil, a mirage of Venetian eglomisée mirrors in the restaurant reflect the wonders of Alfredo Russo’s culinary capability. The Piedmont born chef snapped up his first Michelin star aged 24. Expect tiptop modern Italian cuisine. Disappointment is not, no never, on the menu. Exhilaration is. There are more highlights than a National Theatre performance of Amadeus.

Bed is a reinvented fourposter rising to a spidery crown, apropos to a rococo reverie or a baroque dream or a contemporary vision. It’s impossible not to be hyperbolic about this parabolic scrawl in the perfumed air. The entry to an arcane deserted world. And so late Saturday afternoon, yes, luscious late Saturday afternoon, descends into an undeclared denouement: a happy convergence of atavism with hymn charms. Shadow puppets at play. Unfurling the hours spent, later, so much later, upon reflection, through a glass, darkly; frankly it’s all about Franklin scents and mirrors.