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Croydon(c)DavidSecombe

South Croydon. © David Secombe 2010.


Hawksmoor and the city.

Christchurch and Spitalfields Market, 1990

Christ Church Spitalfields from Brushfield St., 1990. (This and all photos on this page © David Secombe.)

Owen Hopkins:

Ever since they began to rise over London just over 300 years ago, the churches of Nicholas Hawksmoor (1662–1736) have had an ambiguous – even paradoxical – relationship to the city that made them and which they have in turn remade. On the one hand, the churches of St Anne, Limehouse, Christ Church, Spitalfields and St George-in-the-East in the old parish of Stepney, St. Alfege in Greenwich, St Mary Woolnoth in the City of London and St George, Bloomsbury are inextricably bound up with the history of London. On the other, they stand apart, somehow belonging to a rather different time and place, almost as fragments of Ancient Rome transplanted into London.

St Alfege Greenwich, London, 1988.St Alfege, Greenwich, 1988.

To understand Hawksmoor’s churches and their relationship to the city, one has to go back to the aftermath of the Great Fire of 1666. Even as the fire still smouldered, Hawksmoor’s later master, Christopher Wren, was working up a plan for London’s rebuilding that would replace its narrow and irregular medieval streets with grand boulevards. Most importantly, and taking direct inspiration from what he had learned in Paris the year before, Wren’s plan would have imposed a clear spatial order and control on the dangerous and unruly metropolis.

Hawksmoor’s approach to city planning was different. Hawksmoor never created a plan for London in the way his master had done, but he did produce (unbuilt) designs for re-planning Oxford and Cambridge, and parts of London around St Paul’s Cathedral, Greenwich, and Westminster. The easiest way to understand how these would have worked is to look to contemporary landscape gardens: manufactured landscapes littered with classically-inspired temples and follies, structures that dominate the vistas and embody the estate owner’s authority.

St George in the East, Wapping, 2010St George-in-the-East, Wapping, 2010.

Similarly, in Hawksmoor’s idea of the city, spatial order and control extended not from the street layout, but from monumental buildings that would physically dominate their surroundings. In all Hawksmoor city plans we see a recurring strategy of clearing the areas around important buildings – both old and new – so that they might express their spatial dominion over the surrounding cityscape. What happened in between was of far less importance. It’s hard to imagine the effect of these unbuilt plans when described in the abstract, but to see their principles in action we only need look as far as Hawksmoor’s churches.

St. Luke's Old St., London; photo taken in 1988, before its restSt Luke’s Old St. (Hawksmoor & John James), photographed before its 21st century restoration, 1988.

Even now, the areas around Hawksmoor’s three churches in the old parish of Stepney still retain the ‘edge-lands’ feel they must have had when they first grew up in the decades following the Great Fire. Today that energy is manifested in the clash of different cultures and economies as the City of London encroaches on East End communities. In the early eighteenth century the energy arose through the rise of dissenting religious groups, outside the orbit of central Anglican control, with all the social and political ramifications that that held. As a result, Hawksmoor’s churches were conceived from the off as outlying beacons of the city’s spiritual and political centre – monuments of state and Church authority in areas that had none.

Bank tube & St Mary Woolnoth, 1988Entrance to Bank tube station showing part of the crypt of St Mary Woolnoth, City of London, 1988.

All three of Hawksmoor’s Stepney churches are colossal structures, deliberately sited to be seen in the round, that dominate their environment by sheer scale. Not surprisingly, their overbearing size has played a part in their subsequent neglect. In a 1975 letter to The Times, the then Bishop of Stepney, Trevor Huddlestone, was at great pains ‘to make it clear that the state of disrepair of Christchurch, Spitalfields is in no sense due to the failure of the local Christian community, nor, in my opinion, to neglect by the authorities of the Church of England’. Such a building of ‘cathedral-like proportions’ was, he argued, an ‘appalling responsibility for the Church’.

In addition to their size, Hawksmoor was able to make his churches stand out by his choice of material: white Portland stone, as opposed to the red brick of the surrounding city. Hawksmoor’s churches appear as if fully formed from a single gigantic block of stone. There’s the sense that this is the form the stone wants to be – a testament to their design, the final and most enduring aspect of their differentiation from the surrounding city.

St. Anne's LimehouseSt Anne’s Limehouse, 2010.

Having risen up through Wren’s office in the 1680s and 90s, by the beginning of the eighteenth century Hawksmoor was arguably the best-trained architect Britain had ever seen. Classical architecture was his intellectual and aesthetic bedrock, but he was also fascinated by Gothic architecture and in particular its origins – as he saw them – in the churches of the early Christians of the near east. Hawksmoor’s genius was to bring all this learning to bear in creating a series of church designs rich in reference, resonance and allusion. The result was a series of buildings in which architecture was taken back to its very origins, with ideas and references built up in complex layers of masonry, imbuing these structures with the authority of the architectural past. This is architecture conceived through a sculptural sensibility to create buildings that speak to us but indirectly: through our senses and our emotions.

St George Bloomsbury, London, 2016St George Bloomsbury, 2016.

There are few buildings in London that look back to the past while at the same time prefigure the future. While part of London’s history, Hawksmoor’s churches exist in the future too, yielding ever more secrets as the city changes around them.

… for The London Column. Owen Hopkins’s book From The Shadows: The Architecture and Afterlife of Nicholas Hawksmoor is published by Reaktion Books.

© Owen Hopkins. All photos © David Secombe.

See also: Bluegate Fields, The London Nobody Knows, Spitalfields market.


2016 leaving the station …

Kings Cross 2015

Kings Cross. © Dave Hendley.


‘Sweet Thames Flow Softly’.

Albert Bridge in fog, November 2015. © David Secombe

Albert Bridge in fog, 1st November 2015. © David Secombe

Happy New Year from The London Column.


Tim Marshall’s 12 Days of Christmas.

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All photos © Tim Marshall 2015.

Merry Christmas everyone.

… from The London Column.


At the Zoo.

Zoo_Logical_web_ O'Shaughnessy_ Title_Pygoscelis adeliae

© David O’Shaughnessy.

David Secombe:

My old friend David O’Shaughnessy has an exhibition currently on show at Stour Space, Hackney Wick (part of Photomonth, the east London photography festival). David’s show is called Zoo Logical, and is a study of the habitats of zoo animals in New York, Dublin and, as showcased here, London.

 

Zoo_Logical_web O'Shaughnessy_ Title_Elephas maximus

© David O’Shaughnessy.

The key word is habitat: the animals themselves are absent. The viewer is confronted with a series of disconcertingly empty rooms reminiscent of deserted stage sets: which is, of course, the point. The animals are expected to perform for our benefit, and their man-made surroundings either mimic their natural environment or display them as specimens in an alien setting. (As beautiful as Berthold Lubetkin’s penguin pool is, the birds themselves hated it.)

 

Zoo_Logical_web O'Shaughnessy_ Title_Diceros bicornis

© David Shaugnessy

Walking round the exhibition last weekend, it struck me that David has selected the perfect location for his show. For those unfamiliar with the locality, Hackney Wick is a kind of giant guinea pig cage for hipsters. A stone’s throw from the Olympic Park to the south, and within sight of the looming bulk of Westfield shopping mall, the area offers an environment as fitted to the needs of well-heeled young urbanites as any zoologically engineered habitat.  All the key elements are in place: retro-fitted brown field decrepitude, bars and cultural spaces sprouting from light industrial units, towpaths to cycle on, and a sprinkling of riverside new-builds. Anyway, this post is written in haste as Dave’s show ends on Monday: so allow me to suggest that you treat yourselves to a visit to Hackney Wick this weekend. Enjoy the exhibition, drink a craft beer or two and look at the men with funny hair.


Give a little Whistler.

The Thames at Chelsea in fog, November 2015. © David Secombe

The Thames at Chelsea in fog, November 2015. © David Secombe

From J.M. Whistler’s ’10 o’clock Lecture’, 1885, reprinted in The Gentle Art of Making Enemies, 1892:

And when the evening mist clothes the riverside with poetry, as with a veil, and the poor buildings lose themselves in the dim sky, and the tall chimneys become campanili, and the warehouses are palaces in the night, and the whole city hangs in the heavens, and fairyland is before us …

The recent fog in London, despite its inconvenience for air travellers, commuters, etc., proved to be quite a popular meteorological event: instead of invoking Bleak House’s November gloom it made the city look impossibly glamorous.  The above photo was taken on the evening of Sunday, 1st November, during a wander along the Chelsea Embankment: Whistler territory.  The great American painter was a local from 1859 until his death in 1903, and his ‘Nocturnes’ of the Chelsea/Battersea foreshore transform the Victorian industrial Thames into a Japanese world of shadows and fugitive lights. (Whistler was fond of applying musical terms to painting, so his nocturnes derive from Chopin: by the same token, Debussy was a fan and his orchestral Nocturnes return the compliment, evoking the Seine in the same mood as the painter’s Thames.)

James McNeill Whistler: Nocturne: Blue and Silver (Battersea Reach) 1872.

James McNeill Whistler: Nocturne: Blue and Silver (Battersea Reach) 1872.

James McNeill Whistler: Nocturne: Blue and Silver - Cremorne Lights, 1872.

James McNeill Whistler: Nocturne: Blue and Silver – Cremorne Lights, 1872.

James McNeill Whistler: Nocturne: Blue and Silver - Chelsea 1871

James McNeill Whistler: Nocturne: Blue and Silver – Chelsea 1871

 

James McNeill Whistler: Nocturne: Blue and Gold (Old Battersea Bridge) 1872-5.

James McNeill Whistler: Nocturne: Blue and Gold (Old Battersea Bridge) 1872-5.

The final nocturne was ‘The Falling Rocket’, a sort of proto-Abstract Impressionist take on fireworks at Cremorne Gardens, a pleasure garden located roughly where Lots Road Power Station is now. You don’t need me to tell you that this is the painting condemned by Ruskin in terms incendiary enough (I have seen, and heard, much of Cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public’s face’) for artist to sue critic. Whistler won the case but was awarded joke damages and went bankrupt. No matter. Posterity has found in Whistler’s favour; he even has his own statue now, on the north side of Battersea Bridge.

James Abbott McNeill Whistler: Nocturne: Black and Gold (the falling rocket) 1875.

James Abbott McNeill Whistler: Nocturne: Black and Gold (the falling rocket) 1875.

This post is really a couple of years late, as there was a reportedly excellent show of Whistler’s Thames paintings at the Dulwich Picture Gallery. I say ‘reportedly’ because I was marooned on the south coast at the time and missed the bloody thing. But I’m back now, which is why I chanced to be walking along the Chelsea Embankment on Sunday night … (As it happens, I am writing this on Guy Fawkes night. Even in the pissing rain, I can look out of my 6th floor window and see the whole city lit up by sparkling lights. Some of them are even fireworks.) D.S.


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