Architecture

There was much to celebrate last year on the architecture front – the end of the pandemic brought the opening of long-delayed projects ranging from the Academy Museum of Motion Pictures in Hollywood to the Taipei Performing Arts Centre in Taiwan. But there was one construction project that stood head and shoulders above the rest in size and ambition, and that was the transport link formerly known as Crossrail.  The Taipei Centre may have been seven years late and the Academy Museum (now home to Judy Garland’s red slippers and R2D2, among other artefacts) more than a couple of decades in gestation, but that is nothing compared with London’s Elizabeth Line, which was first proposed in the 1940s.

In the early years of the 19th century, the extravagant, spoiled and hard-partying Prince Regent had a surprisingly good idea. Encouraged by pals like Beau Brummell, and with the financial backing of the property developer James Burton, the future King George IV hired the architect John Nash to design a new London neighbourhood. His vision was for a series of magnificent streets, many in terraces styled like modern sugar-coated palaces, on Crown-owned land just north of central London. These ‘Regency’ homes would encircle a brand new park which, modestly, the future King would name after himself.

I’m a 30th generation Cornishman. I’m so Cornish my mum can make Cornish pasties blindfolded, my maternal grandmother was employed aged nine to break rocks in a Cornish tin mine (she was a ‘bal maiden’), and my second cousins founded Cornish Solidarity, which is the very-lightly-armed wing of Mebyon Kernow (the Cornish Plaid Cymru). Nonetheless my visits to the county are infrequent, probably because I am not overly fond of rain.  However, on my most recent visit I noticed that something in Cornwall has changed.

Every year produces a number of ‘firsts’ and ‘mosts’ in architecture – and 2022 was no different. Most obviously, at least for residents of New York, the world’s skinniest skyscraper, with sixty storeys of single apartments stacked to a height of 435 metres, was completed on ‘billionaire’s row’ in Manhattan, perhaps becoming the ultimate example of ‘form following finance’ in the construction annals.

Hyperbole in estate agents’ brochures isn’t unusual – but when it comes to a write-up for Great Tangley Manor, which has gone on the market for £8.95 million, overkill is almost impossible. Believed to be the UK’s oldest continuously inhabited property – its Saxon foundations date from 1016 – the Grade I-listed moated manor house, in the village of Wonersh in the Surrey Hills Area of Outstanding Natural Beauty, comes with an extraordinary roll call of associated famous names. From the spheres of royalty, art, literature, garden design and even America’s Gilded Age, all have played their part in shaping secluded Great Tangley into a country house with a compelling story.

Perusing the listings of a recent auction, I noticed an intriguing, relatively flat piece of copper-plated cast iron featuring intricate foliate and geometric designs. It was a baluster designed by the firm of Adler & Sullivan in 1893 for the old Chicago Stock Exchange. The 1972 demolition of that building, thanks to the “urban renewal” undertaken by many progressive American cities during the mid-twentieth century, led to this bit of architectural salvage coming up at auction many years later. It also led to the death of an idealistic photographer and activist named Richard Nickel. When Nickel (born in 1928) was killed on April 13, 1972, his body was not recovered for weeks.

It is the evening of 30 May 1984. The country’s leading architects have assembled at Hampton Court to celebrate the 150th anniversary of the body that represents their interests, the RIBA. It is a sea of black polo necks, masculine chit-chat and clinked glasses. Given that the ‘R’ in RIBA stands for ‘Royal’ – albeit an honour actually awarded by William IV in 1837, three years after the Institute of British Architects’ founding – it is perhaps no surprise that a royal has been drafted in to politely murmur some congratulations over dinner. Yet what happened next was most certainly not expected.

Where do you stand on new houses? You know, the little red boxes you see massed along the sides of motorways or clustered on what used to be flood plains? They’re hateful, aren’t they? Now, I know many people (my mother included) who own perfectly lovely new houses – and these houses are indeed all very lovely, and I bow to their pragmatism in putting basic necessities such as effective heating and draught-free corridors above the concerns of taste or aesthetics. But I can’t do it. Whether it’s down to the fact that the windows are a funny shape and as impossible to open as those on an Airbus, or that there are fire doors everywhere with nasty brass handles, or that the ceilings are too low, I could not tell you.

It's not in Whitehall nor Westminster; not on the central London tourist trail. Instead it’s ten miles away, on the wrong side of the North Circular, an obscurity in the suburbs, rarely visited for its own sake. But Arnos Grove Tube station is one of the masterpieces of 20th century British architecture – and this week it celebrates its 90th anniversary. Until September 1932, the northern branch of the Piccadilly line ended at Finsbury Park. Then five new stations were built: Manor House, Turnpike Lane, Wood Green, Bounds Green and, finally, Arnos Grove, all commissioned by Frank Pick and designed by Charles Holden. Suddenly it was only 20 minutes to Leicester Square.

The Queen’s wedding gift to Prince Andrew and Sarah Ferguson in 1986 was a brand new 12-bedroom house in the Berkshire countryside. Sunninghill Park was an unfortunate mash-up of architectural styles, from its Tudor-ish chimneys to its vaguely Arts and Craftsy roofline and the monumental columns flanking its entrance. And how we laughed. It was the first time a royal had lived in a new build since Queen Victoria’s son Prince Albert moved into Bagshot Park in Surrey in 1879. The Duke and Duchess of York’s property was instantly nicknamed ‘SouthYork’ thanks to its resemblance to Southfork, the Ewing family ranch in Dallas.

London's architectural landscape is changing at such a pace that it's hard to remember what's been lost beneath the acres of tarpaulin. Buildings I must have walked past a thousand times and that I could have sworn were important landmarks have been disappearing at an alarming rate. Despite the devastation there appears to be little in the way of pushback from harried, post-pandemic Londoners. How quickly we forget what our eyes once took for granted; the familiar razed without a second glance. The area known as St Giles, just east of Charing Cross Road and south of New Oxford Street, has suffered more ignominy than most.