On the margin

Sea Marge, Overstrand, Norfolk

Sea Marge, Overstrand, Norfolk

Sir Edgar Speyer (1862-1932), was an exceptionally rich and cultured man.  He came from a German Jewish family that ran finance houses in Germany, Great Britain and the United States and he took British nationality in 1892.  He organised much of the capital that enabled the Chicago transit tycoon Charles Tyson Yerkes to establish the deep-level underground railways that became London’s Bakerloo, Northern and Piccadilly lines.  After Yerkes’ death in 1905 Edgar Speyer became chairman of Underground Electric Railways of London.

He used his wealth to further his enthusiasms, funding Henry Wood’s Promenade Concerts from 1902 to 1914, the Whitechapel Art Gallery (1901) and Robert Falcon Scott’s ill-fated 1910-12 Antarctic Expedition.

He was one of the millionaires who populated the quiet village of Overstrand on the north Norfolk coast at the beginning of the twentieth century.

He commissioned the prestigious architect Sir Arthur Blomfield to design Sea Marge (meaning “on the margin of the sea”) and incorporated the neighbouring property, The Gables, after the death of its owner.

The year the house was completed, 1902, Edgar Speyer married the American violinist, Leonora von Stosch (1872-1956), for whom he provided Stradivarius and Guarneri violins.   Speyer became a baronet in 1906 and a Privy Councillor in 1909.

Sir Edgar and Lady Speyer became victims of intense anti-German prejudice during the First World War, such that Speyer offered to resign from the Privy Council and revoke his baronetcy, offers that were summarily rejected by King George V and the Prime Minister, Herbert Asquith.  Accusations ranged from serious charges of trading with the enemy to suggestions that he was using Sea Marge as a base from which to signal to German submarines.

Post-war in camera investigations into Speyer’s wartime conduct, however, concluded that through his international trading operations he had practically collaborated with the Germans.  Sir Edgar and Lady Speyer’s and their daughters’ British nationality was revoked:  he was removed from the Privy Council, though allowed to retain his hereditary baronetcy.  He sold up all his British business interests and his London house, and moved to New York.

There is a biography examining the case against Sir Edgar:  Antony Lentin, Banker, Traitor, Scapegoat, Spy?:  the troublesome case of Sir Edgar Speyer (Haus 2013).

Sea Marge remained in the Speyers’ hands until Sir Edgar’s death in 1932.  The purchasers, Mr and Mrs Gibbons, moved into the Coach House, and sold the main house on.  It opened as a hotel in 1935:  after closing in 1955 the property was for long neglected, but has now been fully restored and once more operates as a hotel:  http://www.seamargehotel.co.uk.

For details of Mike Higginbottom’s lecture Survivals & Revivals:  past views of English architecture, please click here.

The 44-page, A4 handbook for the 2011 Norfolk’s Seaside Heritage tour, with text, photographs, maps and a reading list, is available for purchase, price £15.00 including postage and packing.  To view sample pages click here.  Please send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

Theatre for heroes

Stanford Hall, Nottinghamshire:  theatre wing

Stanford Hall, Nottinghamshire: theatre wing

The Stanford Hall estate on the Nottinghamshire-Leicestershire border has been in limbo ever since the Co-operative College moved out in 2001.  Two developers have successively raised schemes to finance the restoration of the hall and its grounds by constructing houses and apartments in the park, and both have come to nothing.

Its long history is both complex and sensitive – owned by two successive gentry families, a Burton brewer, the eccentric furniture millionaire Sir Julien Cahn and latterly the College.  In particular, Sir Julien’s external additions – various sporting facilities and a fully-equipped private theatre – have been greatly valued by the local community during the years that the College ran the place.

In 2011 the 6th Duke of Westminster bought the Stanford Hall estate as a future base for the Defence and National Rehabilitation Centre, which supports members of the armed services and civilians as they recover from traumatic injuries.

This work currently takes place at the Defence Medical Rehabilitation Centre at Epsom, Surrey, but this facility is no longer capable of expansion, though the need continues to grow:  casualties now survive injuries which would have been beyond recovery even ten years ago.

Stanford Hall is considered ideal for this new purpose because of its Midlands location, its tranquil environment and the space for magnificent new facilities which need not overpower the historic landscape.

Members of the local community have expressed concern about the future of the Stanford Hall Theatre, which Sir Julien built in 1937 as a venue for his private conjuring shows.

There’s a potential conflict between the desire of local groups for access to the theatre such as they enjoyed in the days of the Co-operative College and the needs of the Defence and Rehabilitation Centre, which will make active use of the theatre and requires higher levels of security than were ever needed by the College.

The proposed physical alterations to the Theatre, primarily to provide level access for wheelchairs, seem relatively benign:  a wrap-around block will provide much better access to the auditorium, and Sir Julien’s top-floor bedroom suite for his private cricket team will be stripped out to reduce loading on the outer walls.  I can find no mention in the planning application of the bomb shelter beneath the auditorium rake.

The plans don’t appear to stretch to a full restoration of the theatre facilities and the Wurlitzer organ, and this has exercised a consortium of local amateur-dramatic societies:  http://www.independent.co.uk/arts-entertainment/theatre-dance/news/dukes-scheme-rings-down-the-curtain-8449399.html.

Let’s hope that the heroes and the thespians can live amicably together.

Goldberg Variation

River City, Chicago

River City, Chicago

Clearly visible from the Sears/Willis Tower, River City (1986) – despite its incomplete form – is Bertrand Goldberg’s complement to Marina City, a free-standing residential complex.  Instead of the intended height of seventy-two storeys, the existing building is only seventeen storeys high, incorporating a boat-dock giving direct access to the Chicago River.

Its S-shape is reflected in the spinal ten-storey atrium, the River Road, which runs through the building, so that the wedge-shaped apartments alternatively face out to the river or inwards to the atrium.  Originally the building was intended to extend a further 400 metres towards Roosevelt Road.

Bertrand Goldberg was a Chicago-born Bauhaus student and graduate of the Armour Institute.  He regarded Mies van der Rohe as his mentor, until he became repelled by the mechanical repetitiveness of modernist design.

Goldberg asserted a more humane design-language by his rejection of right-angles, spectacularly apparent in his Chicago housing-projects.

The fragment of River City that exists lacks the impact of the intended design.  Marina City is 65 storeys high;  the six clusters of “triad” towers at River City would have been 72 storeys, linked by bridges at intervals of eighteen floors.

Mies is regarded as an aesthetic hero by a whole generation.  The tall rectangular boxes that he and his followers erected in cities across the world look fine, but Goldberg’s towers feel like places to live in.

There’s an account of Goldberg and his life’s work at http://www.architechgallery.com/arch_info/artists_pages/bertrand_goldberg_bio.html.

For details of Mike Higginbottom’s lecture Windy City:  the architecture of Chicago please click here.

The Corn Cobs

Marina City, Chicago

Marina City, Chicago

The twin towers of Chicago’s Marina City (1959-64) – inevitably nicknamed the “corn cobs” – were a social as well as an urban landmark.  Their architect, Bertrand Goldberg (1913-1997), insisted their floor-plans were derived from the sunflower, “where the core is the center of the flower and each of the bays emanating from the core are very much both in shape and organization – like the petal of the flower.”

These two concrete towers were an exciting practical departure from established development thinking:  their construction is transparent, with a spiral of car parks leading to cake-slice shaped apartments with open semi-circular balconies;  the intention – which proved highly successful from the start – was to provide downtown accommodation for single and childless city-centre workers who wished to live virtually, if not actually, within the Loop.

The first nineteen storeys form a ramped multi-storey car-park (staffed by valets, presumably to minimise misadventures).  The twentieth floor is given over to services, included a launderette, and the floors above consist of apartments with some of the most enviable views in Chicago.

Conceived as a “city within a city”, Marina City was equipped with shops, restaurant, entertainment facilities and hosted both radio and television studios, as well as a marina with direct access to the Chicago River.

To provide nine hundred apartments economically, Goldberg chose to build two sixty-storey towers, and rejected steel cladding as too expensive.  Consequently, they were for their time the tallest reinforced-concrete structures in the world.

At a time when “white flight” to the suburbs was a major problem for urban planners, Marina City helped to turn the tide, making inner-city living desirable and convenient – though its residents, driving in and out and sweeping home in high-speed elevators, need hardly set foot on the sidewalk for weeks on end.

A helpful description of Marina City is at http://www.chicagosavvytours.com/apps/blog/show/3230412-marina-towers-the-city-within-a-city.

For details of Mike Higginbottom’s lecture Windy City:  the architecture of Chicago please click here.

 

Less is more

Former IBM Building, 330 North Wabash Avenue, Chicago

Former IBM Building, 330 North Wabash Avenue, Chicago

The towering figure of Ludwig Mies van der Rohe (1886-1969) ensured that Chicago led the world in the development of the modernist International Style.  He arrived in Chicago, a refugee from Nazi Germany, in 1937 to head the school of architecture at Armour Institute, which subsequently became the Illinois Institute of Technology.  Having designed the IIT campus in the Black Belt area of Bronzeville, he took up full-time architectural practice on his retirement in 1958.

Rooted in the principles of the pre-war Bauhaus School,– that architecture is intended simply to define space, buildings should have absolute regularity unless variation is functionally necessary and there should be no applied decoration – the buildings of this style are instantly recognisable as rectilinear boxes floating above a ground-level podium.  They show no sign of their function, ignore their surroundings and could be positioned anywhere.  Mies van der Rohe’s principle was that “less is more”.

His last American commission was the 52-storey, 695-feet-high IBM Building at 330 North Wabash Avenue, built posthumously in 1969-71 (or 1971-3, depending on the source).  Its distinguishing feature is the use of dark aluminium instead of black structural members, and of bronze-tinted glass instead of clear.

It represents a landmark in building design because its owners, necessarily, specified features to accommodate what was then an unusual quantity of computers – an under-floor duct-system to permit cabling and reverse refrigeration to disperse the heat from the machines.

The building is a beautiful shape, but it could have been built anywhere.  Unlike the nearby Wrigley Building, which is carefully designed to fit with the bend in the Chicago River, the IBM Building is parked unceremoniously in a position that required the realignment of North Wabash Avenue.

It remains a practical building now that it’s to an extent outlived its original purpose.  As 330 North Wabash, it is being refurbished to incorporate a five-star hotel on floors 2-16: http://www.chicagoarchitecture.info/Building/1043/330-North-Wabash.php.

For details of Mike Higginbottom’s lecture Windy City:  the architecture of Chicago please click here.

Lady Isabella

Great Laxey Wheel, Isle of Man

Great Laxey Wheel, Isle of Man

The Isle of Man’s most distinctive industrial structure is the decorative but entirely practical Great Laxey Wheel, which is properly named Lady Isabella after the wife of the Lieutenant Governor, the Hon Charles Hope, at the time of its construction, 1850-54.

On an island entirely devoid of coal, the spectacular 72½-foot diameter backshot wheel was the economical solution to the need to drain the Laxey mines to a depth of 1,200 feet.

The wheel is driven by the waters of the Glen Mooar river led by gravity from an upstream cistern to the top of the tower behind the wheel.

In turn it drives a crank connected to a rod-system, carried on a 200-yard viaduct of 34 arches to power the pumping gear.

Because of its prominence in the valley, it was given an elaborate architectural treatment, with a vertiginous spiral staircase leading to a viewing platform above the supply aqueduct.

The Great Laxey Mining Company became hugely profitable.   Peak production was achieved in 1875 – 2,400 tons of lead, 107,420 ounces of silver (worth over £90,000) and 11,753 tons of zinc-blende. In 1876 £4 shares yielded a 50% dividend.

From then on production declined, until flooding bankrupted the company in 1901, and attempts to revive the mine finally gave out in 1929.

The Lady Isabella, on the other hand, has been a consistent success as a tourist attraction.  In 1877 16,445 visitors climbed to the top of the Wheel.   The miners’ wives did good business providing ham-and-egg teas for visitors, so that Dumbell’s Terrace became and remains known as Ham and Egg Row.

Admission charges (£200 in 1887) were donated to the Miners’ Poor Relief Fund until 1897, when they were diverted to the Mining Company’s own increasingly depleted funds.

The Lady Isabella continued to operate as a private tourist attraction until 1965, when it was sold to the Manx Government.  After a thorough restoration it reopened in 1967, and the derelict mining remains of Glen Mooar were investigated and conserved to form the Mines Trail which opened in 1986.

There is a vivid if haphazardly shot video of the Wheel at http://www.youtube.com/watch?v=fNLc5r3R8sc, and tourist information about visiting is at http://www.manxnationalheritage.im/plan-your-visit/groups/laxey-wheel-group-travel.

The 72-page, A4 handbook for the 2014 Manx Heritage tour, with text, photographs, maps, a chronology and a reading list, is available for purchase, price £10.00 including postage and packing.  To order a copy, please click here or, if you prefer, send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

Blackpool’s Big Wheel

Former Big Wheel Café, St Michael-on-Wyre, Lancashire

Regular clients on Mike Higginbottom Interesting Times tours are used to finding that the tour contains more than the outline promises.

This isn’t simply perverse marketing:  sometimes opportunities arise at the last minute, too late to advertise, and I like to have a reputation for providing more than it says on the tin.

The guests on the Lancashire’s Seaside Heritage (July 10th-15th 2013) tour were mystified to be taken to see Judith Hunter’s conservatory next to her caravan-site in St Michael’s-on-Wyre, a few miles inland from Blackpool.

I told them they would see perhaps the only surviving relic from the Blackpool Winter Gardens’ Big Wheel.

The Big Wheel, along with the Empress Ballroom, was the Winter Gardens manager Bill Holland’s response to the arrival of the Tower in 1894.

The Ballroom was a great success, and provoked the Tower Company to embellish their assembly room into the Tower Ballroom.

The 220ft-high Big Wheel of 1896 largely failed to compete with the higher, simpler Tower, except in one respect:  in quiet periods (there were many) young men escorting young ladies sometimes bribed the attendant to hold the Wheel for a time when their carriage was at the top.

When the Tower Company took over the Winter Gardens in 1928, almost their first act was to dismantle the Wheel.

The thirty carriages were auctioned off as garden sheds and summer houses, and Judith’s was bought by Miss Edith Swallow, the first matron of Blackpool Orphanage, to serve as a holiday home for the orphan girls.

For some years Judith used it as a café but now she keeps it for private use.

For details of Mike Higginbottom’s lecture Fun Palaces:  the history and architecture of the entertainment industry please click here.

The 80-page, A4 handbook for the 2013 Lancashire’s Seaside Heritage tour, with text, photographs, maps and a reading list, is available for purchase, price £10.00 including postage and packing.  To view sample pages click here.  To order a copy, please click here or, if you prefer, send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

The empty envelope

St Cecilia’s Church, Parson Cross, Sheffield (August 29th 2013)

St Cecilia’s Church, Parson Cross, Sheffield (August 29th 2013)

After the public meeting about the demolition of St Cecilia’s Church, Parson Cross, Sheffield Paul Beckett, the Assistant Diocesan Secretary (Property) of the Diocese of Sheffield, invited me to see the interior of the church to gain a better idea of its condition.

It would indeed need serious money to deal with the water ingress, the fallen plaster, the undulating floor in the undercroft and the shot-to-pieces wiring.

If someone could contrive a practical way of recouping an investment of up to a million pounds to save the Church Commissioners spending perhaps £200,000 demolishing the place, they’d have a very beautiful building for their money.

Kenneth McKenzie’s church looks much bigger inside than you’d expect.  It’s a broad, light, elegant space, picking up the elements of traditional churches in the stripped-back manner of inter-war architecture.

As it stands, it has a melancholy time-warp feel:  although disused for the past couple of years, the hymn-books are still on the shelf and the vestments hang in the vestry.

Because the parish was always at the high end of Anglo-Catholicism, it retains statues of saints, a Pietà and a highly ornate reredos of 1923 which is in fact a refugee from the demolished church of Holy Trinity, Preston via another demolished church, St Margaret’s, Burnley.  Presumably it will once more go on its travels.

St Cecilia’s also has an impressive-looking organ, built in 1986 by Cousans of Lincoln from the previous organ by Vincent’s of Durham (1972) with additional parts from two other organs by the Sheffield firm of Brindley & Foster.

Checking the organ in the National Pipe Organ Register [http://www.npor.org.uk/cgi-bin/Rsearch.cgi?Fn=Rsearch&rec_index=N01088] alerted me to a revealing chronology:

1972:  new organ
1986:  another new organ
1999-2003:  renovation of undercroft (nearly £400,000 funded largely by the Single Regeneration Budget and the National Lottery)
2010:  roof, heating and electrical wiring beyond economic repair
2011:  church closed

It’s clear, with the luxury of hindsight, that it would have been better to prioritise maintaining the outer envelope of the building rather than embellishing the interior.

As it is, the cost of doing anything with it – knocking it down or reviving it – will be onerous.

I mentioned again the stern requirement in the Pastoral Scheme for St Cecilia’s that the church shall be demolished, and Paul assured me that if anyone were to come up with a practical scheme to save the building the process towards demolition could be stalled.

It’s a big ask to fill an empty envelope.

36774 Sheffield Parson Cross St Cecilia's Church

Goodbye St Hilda’s

St Hilda’s Church, Shiregreen, Sheffield (September 2013)

St Hilda’s Church, Shiregreen, Sheffield (August 31st 2013)

At the belated start of the belated campaign to save St Hilda’s Church, Shiregreen, Sheffield I knew a good deal less about the byzantine workings of the Church Commissioners than I now do.

As the scaffolding goes up to begin destroying St Hilda’s, I’ve learned that to develop the land on which an Anglican church has stood requires unusual tenacity.

The conditions of sale demand that a prospective purchaser has a practical business plan and planning permission for the proposed development.

Planning permission involves a significant amount of expensive professional support.

Then, I’ve discovered, the prospective purchaser has to demolish the church building before they can purchase it.

Clearly, this requires nerves of steel and a great deal of faith, because it can cost close on a six-figure sum even to create an empty site.

I hope whatever goes up in place of St Hilda’s looks at least as good.

One less twentieth-century suburban church makes the others that remain marginally more valuable.

The failed campaign to save St Hilda’s Church, Shiregreen is featured in Demolished Sheffield, a 112-page full colour A4 publication by Mike Higginbottom.

For details please click here.

Palace tram

National Tramway Museum, Crich: Derbyshire: London United Tramways 159

National Tramway Museum, Crich: Derbyshire: London United Tramways 159

The National Tramway Museum, like all good tourist sites, needs novelties to encourage visitors to return repeatedly:  http://www.tramway.co.uk/plan-a-visit/opening-times-prices-2013.

This year’s pride and joy is London United Tramways no 159, built in 1902 and now newly restored after twenty-one years of service in London and fifty-five years as part of a residence in Surrey.

It was originally used on the routes out to Twickenham, Hampton and Hampton Court, where expectations were understandably high, so this W-class tram was one of the LUT’s “Palace cars”, its palatial lower deck fully fitted in a manner thought suitable for its upper-class passengers, with an inlaid walnut ceiling, plush carpet, velvet curtains and upholstery and silk tassels instead of leather hanging straps.

It was not, as such, a first-class vehicle, simply what the residents expected.  (Liverpool tramways did have first-class trams in which workmen could not ride so that passengers could travel without fear of dirtying their clothes on their fellow passengers’ overalls.  Presumably the LUT didn’t expect workmen in Twickenham and Hampton:  they are, after all, a long way from the docks.)

The National Tramway Museum, in conjunction with the London County Council Tramways Trust and the Arts Council’s Prism Fund [Preservation of Industrial and Scientific Material], has spent £400,000 on bringing 159 back to its glorious original condition.  The original cost in 1902 was £669.

It’s the biggest restoration project the Museum has tackled so far.