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.


At least ten fanlights.

Doughty-St-cyclist smallerDoughty St., WC1. © David Secombe 2010.

Burned Georgian houses in Borough, London, 2010.Southwark Bridge Rd.,SE1 © David Secombe 2009.

Georgian house in Wapping, London, 2010Cable St., E1. © David Secombe 2010.

Albermarle Arcade, Mayfair, london, 2010Royal Arcade, Albemarle St., W1. © David Secombe 2011.

St Anne's Limhouse, London, 2010St. Anne’s Limehouse. © David Secombe 2010.

Jesus-Maiden-Lane smallerCorpus Christie, Maiden Lane, WC2. © David Secombe 2014.

Sidney-St-doorway smallerSidney St., Whitechapel. © David Secombe 2011.

Royal Opera House from behind the old police court on Bow St., LRoyal Opera House from Marlett Court. © David Secombe 2010.

Citroen DS, Waterloo, London, 2011.Citroen DS, Roupell St., Waterloo. © David Secombe 2012.

Edward Heath, 10 Downing St., election day, 1970Edward Heath, 10 Downing St., June 1970. © Angus Forbes 1970.

See also: Edward Heath’s Feet 

 


The London Nobody Knows – revisited. Photos & text: David Secombe. (2/4)

St. Anne’s, Limehouse. Photo © David Secombe 2010.

From The London Nobody Knows, Geoffrey Fletcher, 1962:

St. Anne’s, Limehouse, was built by Hawksmoor, 1712-30, one of his three churches in the East End which alone make a worthwhile pilgrimage: the other two are St. George in the East and Christ Church, Spitalfields. All were begun within a few years of each other. As early as the 1730s, overcrowding had become a characteristic of the East End, a process accelerated in the early 19th century by the building of the docks between 1800 and 1830, the demand for unskilled labour, and the arrival of Jews and other refugees from Eastern Europe. These three churches were built as necessities, but there is nothing utilitarian about them. Their originality continues to surprise us. Hawksmoor’s architecture, imbued with Baroque rhythms, is massive yet solid, like Johnson’s prose. Characteristic of how little we really value them is the fact that, at time of writing, Christ Church, Spitalfields, is under threat of demolition, though thousands of pounds are uselessly thrown away in every conceivable direction.

David Secombe:

Christ Church, Spitalfields, was not demolished and has in recent years been the beneficiary of grants to restore the fabric of the building after decades of neglect. Hawksmoor’s six London churches have experienced a revival in general, and have become talismans for those who seek to pursue a hidden or mystical history of the city. Peter Ackroyd’s 1985 novel Hawksmoor elaborates upon ideas proposed by Ian Sinclair that Hawksmoor’s churches map an Eye of Horus upon the capital, whilst Alan Moore’s graphic novel From Hell links the Jack the Ripper murders to the looming presence of Christ Church over Whitechapel. Psychogeography aside, the massiveness and intensity of Hawksmoor’s designs have a slightly forbidding quality– and his monumental East End churches must have appeared anomalous and strange to those living in the surrounding Georgian and Victorian slums. In the 21st century, however, Christ Church looks anomalous for a different reason: the deadly corporatised make-over of Spitalfields market has transformed the area into Covent Garden East, and Hawksmoor’s magnificent creation now looms over a retail theme park safe for hipsters and their friends.

… for The London Column.