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Grand Central Hotel + Grand Central Hotel Belfast

With Th’Angelic Host

How to Get from Belfast to Heaven written by Lisa McGee of Derry Girls fame and directed by Michael Lennox of dynastic renown is a great tourism advert for Ireland and the Six Counties in particular. This Netflix comedic thriller is also worth watching to play spot the filming location. Buildings of South County Down by Philip Smith (2019) contains two: the 1830s St John’s House (a singular shade of grey) in Killough and the nearby 1840s St John’s Point Lighthouse (black and yellow wasp stripes). One of the early scenes is shot in The Seahorse Restaurant of Grand Central Hotel on Bedford Street, south of Belfast City Hall.

The original Grand Central Hotel opened in 1893 on Royal Avenue, north of City Hall. Erected as the 19th century came to a close, it was a five storey plus attics 200 bedroom hotel with a corner copper dome over an octagonal turret. The elaborate Italianate red brick elevations were dressed with stone ornamentation. Sir Charles Lanyon’s son John was the architect. Octogenarians recall it being the venue for important job interviews, special occasion dinners and high society events. The Grand Central was Belfast’s top hotel until it closed in the late 1960s as The Troubles turned the city centre into a no go zone. Castlecourt shopping centre replaced the hotel in the 1980s.

The London equivalents of the original Grand Central are, or in some cases, were: The Grand, Trafalgar Square (1881, Frederick Francis, Henry Francis and James Ebenezer Saunders, interior scooped out to insert offices and façade thinly reinstated in the late 20th century); The Langham, top of Oxford Street (1865, John Giles and James Murray, extended in the late 20th century); The Ritz, Green Park (1906, Charles Mèwes and Arthur Davis, correctly extended 2026); The Savoy, The Strand (1889, Thomas Colcutt, revamped in the 1920s); and The Strand Palace, The Strand (1909, Sir Henry Tanner, rebuilt two decades later, still there today).

In recent years, Hastings Hotels has flown the flag of high end hospitality in Northern Ireland. The collection includes Ballygally Castle (Ballygally, County Antrim), Culloden (Cultra, County Down), Everglades (Derry City, County Londonderry), Stormont (outer Belfast), Europa (inner Belfast) and since 2018, Grand Central (inner Belfast). Europa and Grand Central hold a similar record: the former as the world’s most bombed hotel and the latter as the world’s most bombed office block. Hastings Hotels also has a 50 percent share of The Merrion, one of Dublin’s finest establishments.

Ballygally Castle, Culloden and Stormont all started life as country houses. The Merrion was once a row of townhouses. Europa is the only purpose built hotel in the collection. Grand Central used to be Windsor House. Marcus Patton describes the building in Central Belfast An Historical Gazetteer, 1993, “Tall office block of 24 storeys including two storey black marble podium and attic level, the upper levels being clad in white mosaic panels; with a narrow frontage to Bedford Street but extending back considerably. At 270 feet, this is the tallest building in Northern Ireland. In 1852 a new stone warehouse had been built on this site for Robert and John Workman, linen and muslin manufacturers, by Sir Charles Lanyon. One of the first developments in the street, this was four storeys high with channelled ground and first floors, central first floor balcony, arched tops to third floor windows, outer bays set slightly forward, and chimneys rising above deep eaves.”

Taggarts architects retained Dennis McIntyre and Devon’s 1970s concrete frame and faced the structure with dark cladding giving it a contemporary £53 million facelift. Above the 300 bedrooms (50 percent more guest accommodation than its namesake) is the penthouse level Observatory Bar and Restaurant with its 360 degree panorama of this small city. Cave Hill looms to the north. Harbour and Laganside to the east under the embrace of the Holywood Hills. Twin peaks of St Peter’s Catholic Cathedral to the west. And surprisingly, the view to the south stretches over the city and on to the Mourne Mountains. The view inside is of the beautiful people.

The Protestant United Irishman freedom fighter Wolfe Tone made this entry in his June 1795 diary: “I remember two days we spent on the Cave Hill. On the first Russell, Neilson, Simms, McCracken and one of two more of us on the summit of MacArt’s Fort took a solemn obligation which I think I may say I have on my part endeavoured to fulfil – never to desist in our efforts until we had subverted the authority of England over our country and asserted our independence.” In his 1955 memoir, the great writer Clive Staples Lewis recalled, “County Down in the holidays and Surrey in the term – it was an excellent contrast.” He saw the Holywood Hills as “an irregular polygon” and the Mournes were famously his inspiration for the land of Narnia.

Grand Central Hotel is linked to the past and not just in name. Its seahorse motif symbolises Belfast’s maritime heritage. Curtain fabric pattern is inspired by the flax flower of Ulster’s linen history. The building has not been restored to its former glory – a depressing Civil Service office block. Instead, it has been reimagined as a symbol of the revification of Belfast as a tourist destination. The interior is filled with literary and artistic references. A framed extract from local poet Paul Muldoon’s composition Belfast Hymn (2018) is on a stairwell: “Known too, the best days begin and end at the Grand Central where we counter the cold and damp with oatmeal, ancient grains, entrecôte aux champignons, champ, a flute of gold Champagne.”

Another extract is engraved on the glass wall of the lift: “The flute on which James Galway soared was really made of gold. Some dwell in the House of the Lord and some on the threshold of hotels like the Maritime. Van Morrison and Team summoning from our glow and grime meticulous mayhem.” Paul explains, “I was tempted by the idea of trying to write a new poem about Belfast for several reasons. The first is that, despite my not having lived here since 1986, I still feel very connected to the city. I came here first as a child in the 1950s, usually traveling by train via Portadown … In 1969, I came to Queen’s University as a student, just as things were hotting up on the streets. On July 21, 1972, a date that would become known as Bloody Friday, Smithfield Bus Station was bombed. Smithfield Market was destroyed by incendiary bombs in 1974. By that stage I was at the BBC, where I worked as a radio and television producer between 1973 and 1986. I spent several of those years in an office in Windsor House. Having long been an admirer of the Hastings family and their profound sense of civic responsibility, I am delighted to offer this poem in the spirit of hope and the idea of home they so wonderfully embody.”

A gigantic artwork Still Life Consommé Cup dominates The Seahorse Bar. Born in Lancashire, artist Neil Shawcross spent his working life teaching at Belfast College of Art. His painting – not dissimilar to Chi Peng’s two cups and saucers Scattered Aesthetic and Concrete Depth in the foyer of Waldorf Astoria Beijing – symbolises the return of dining elegance. A mural by Tandem Design hangs over The Seahorse Restaurant. The illustrated mythology represents Sir Arthur Chichester (who established the city in 1611) as a wolf. A seahorse makes an appearance in the mural. Even the staircase has a life size seahorse wrapped round its newel post.

A trawl through the Public Records Office Northern Ireland reveals highly sensitive documents dating from around the War of Independence era. A memo stamped “Secret” dated 2 June 1922 states, “Owing to the recent activities in the city it appears to be very important that the Night Watchmen be armed, and it is therefore hoped that this matter may be treated as urgent … The matter has been discussed with Mr Harrison and Colonel Goodwin, and it is understood that if no regular constables are available, there would be no difficulty in engaging Special Constables for this work. The Minister of Finance has arranged for the building to be closed to the general public from 5.00pm to 8.45am Monday to Friday, and from 1230pm Saturday to 8.54am Monday, and I am directed to request that suitable protection be afforded, and that, if necessary, additional Special Constables be engaged. A plan of the thrid floor of the building is attached. The remaining floors are almost identical.” John Robinson, Establishment Division, Ministry of Finance.

A Minute Sheet dated 2 June 1922 from the Secretary of Ministry of Finance, to the Secretary of Home Affairs is titled Protection of Grand Central Hotel. It records: “I am directed by the Minster of Finance to state that the question of police protection of the Grand Central Hotel has been under consideration, arising out of a request received from the Ministry of Pensions. The building consists of six floors and has two entrances. It is, however, proposed to close all entrances except the main entrance, and convert the rear and side entrances to emergency exits. The protection of this building was recently considered together with all other Government buildings, and doubt was expressed as to whether effective protection could be afforded.”

It wasn’t just members of the public staying eating and sleeping in the hotel. “As you are no doubt aware, a considerable number of people visit the building daily to attend the undermentioned offices: Ministry of Pensions, Ministry of Labour, Ministry of Finance (Works and Valuation), Inland Revenue Inspector of Taxes and Post Offices Engineer, and it is not possible to institute a system of passes or interview forms. The provision in the building of sleeping quarters for men offering themselves for recruits for His Majesty’s Forces is a very undesirable feature, and the military authorities are being asked to accommodate these men elsewhere.”

Protection for Grand Central Hotel was estimated at £6,000 per annum. “It is considered that the building is most liable to attack between 6.30am and 8.45am during the time the cleaning staff is on duty, from 12.00 noon to 2.15pm when the staff is depleted during the luncheon interval, and from 5.00pm to 8.00pm when the building is almost deserted except for casual attenders at the Ministry of Pensions Clinics and Inland Revenue Office. An armed Night Watchman is on duty from 9.00pm to 7.00am and a caretaker sleeps on the premises. The technical staff has arranged for alarm bells to be installed and a wire screen to be affixed insider the main entrance, and they are of opinion that the two Constables patrolling each corridor from 6.30am to 9.00pm would provide suitable protection. The matter is, however, submitted for the consideration of the police authorities for their opinion, which will be accepted.”

On a brighter note, the Public Records Office Northern Ireland holds a very meaty menu for Christmas Luncheon in the Grant Central Hotel on Friday 25 December 1964 (25 shillings a head). Honeydew Melon, Pâté Maison, Soused Herring. Rich Brown Game Soup, Scotch Broth. Salmon Mayonnaise, Fried Fillet of Sole Tartare Sauce. Roast Irish Turkey Gammon Cranberry Sauce, Roast Leg of Pork Apple Sauce, Roast Sirloin of Beef Horseradish Sauce. Roast Irish Chicken Bacon Bread Sauce. Cold Buffet: Irish Ham, Assorted Meats, Roast Turkey, Brussels Sprouts, Green Peas, Seasonal Salad, Creamed Roast Potatoes. Fresh Jellies, Plum Pudding, Sherry Trifle, Fruit Salad, Dairy Cream, Mince Pie. Assorted English Cheeses and Biscuits. Tea or Coffee. It’s enough to turn the most dedicated carnivore vegetarian.

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Architects Architecture Design Developers Luxury People Restaurants Town Houses

The River Café + The River Café Café Hammersmith London

The Intangible Asset

Last summer Sir John Soane’s Museum in Holborn played host to the first retrospective in Britain of the renowned architect Sir Richard Rogers’ work. South of the River Thames, his widow Lady Rogers continues to run London’s most celebrated Italian restaurant. New York born Ruthie opened The River Café with fellow chef Rose Gray in 1987. A decade later it earned a Michelin Star. Not bad for what started out as a work canteen for the architectural practice. Rose died in 2010; Richard, 2021.

The restaurant is on the ground floor of a repurposed storage warehouse called Thames Wharf Studios which is located on one of the many bends in the Thames. Nothing too fancy, nothing too flash. Understated reddish brick architecture backing onto a quiet residential street south of the leafy Frank Banfield Park yet a short walk from the transport hub of Hammersmith.

A reconnaissance is obligatory for lunch so the first visit is to The River Café Café for a £4 morning Americano and £6 pistachio cake. The little sister is on the ground floor of the neighbouring building and shares the same décor: more to come on that. Guests can create their own River Café Café café experience at home: cookbooks and kitchen items are for sale.

Last year Rogers Stirk Harbour and Partners moved to The Leadenhall Building in Bank, better known as The Cheesegrater. That skyscraper was of course designed by Lord Rogers. Thames Wharf Studios are due to be redeveloped but the owners, London and Regional and Marco Goldschmied (a former business partner of Richard Rogers), are keen for the restaurant to stay on site. So for now The River Café is still close, but not too close, to the blue ribbon heart of the city.

The food stands out on distraction free white paper covers laid on linen tablecloths. Skipping antipasti it’s straight to primi for Capesante in Padella: seared Scottish scallops with grilled pepperoncino, Chianti vinegar and smashed Delica pumpkin. Secondi is Sogliola al Forno: whole Dover sole wood roasted with cedro lemon, marjoram and a forest of Violetta artichokes. The Dover sole is filleted of course – lunch shouldn’t be hard work. An Amalfi Coast of freshness, Rimini ripeness, very Vernazza. There’s always the excitement of pudding and dolci doesn’t disappoint. Lemon Peel Tart is a slice of Sorrento on a plate.

The restaurant is a rectangular space. On one of the long sides, the zinc bar fronted open kitchen faces towards the road. On the other long side, French doors open onto a terrace which backs onto a public walkway abutting … the river. The pattern free interior decoration matches the tablecloths and vice versa. Two white walls; two green walls; blue carpet; silver seats; and a pink wood fired oven. Not just any pink – Hot Pink, Zandra Rhodes’ Hair Pink, Rogers Pink.

Lunch at The River Café isn’t cheap. Even with a bottle of entry level wine (Chianti Roufina Vendemmia 2023) it’s just over £200 a head for three courses. Special occasion pricing or at least an expensive toast to a random Saturday afternoon in January. But that’s the price to be seen at London’s buzziest restaurant. Everyone is dressed to thrill – or at least almost everyone. A customer in jeans winding his way through the tight clustering of circular tables looks distinctly underdressed. Even if they are Versace jeans.

Television producer and screenwriter Jemima Khan is sitting at the next table with a male companion. She’s just celebrated her 52nd birthday and is looking youthfully suave in a monochromatic Chanel suit and Gucci shades. Fellow guests appear vaguely familiar in that café society last spotted at Annabel’s nightclub way.

An architecture model at reception is a reminder of the restaurant’s provenance.

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Architects Architecture Design Developers Hotels Luxury People Restaurants

Shangri-La Hotel The Shard London + Sky Lounge Sunday Brunch

The Sky’s Not the Limit

Where to, where to? Andaz Hotel, Doha? Armani Hotel, Dubai? Bab Al Qasr Garden, Abu Dabhi? Il Baretto, Riyadh? Jumeirah Muscat Bay, Oman? Reyna, Paris? Sachi Milano, Milan? Wassim Aal Baher, Anfeh? Paris (and everywhere else) can wait. We’re off to the Shangri-La Hotel in London’s most striking cloudscraper. The Hall of Abstinence in Beijing’s Forbidden City already a fading memory, today is all about the bottomless Veuve Cliquot Champagne Sunday Brunch in the Sky Lounge on level 34. No rest for the wonderful. SupperClub Middle East has 700 plus exclusive worldwide offers and Shangri-La is just one of them in the English Capital.

Britain’s tallest building – all 95 storeys of it – is the ultimate vertical town. It replaced a titchy 24 storey office block on this valuable site next to London Bridge. Owned by the State of Qatar (95 percent) and Sellar Property Group (five percent), The Shard contains shops, offices, restaurants, bars, apartments, a public viewing gallery and of course the 202 guest room Shangri-La Hotel which takes up the middle 18 floors. Italian architect Renzo Piano took inspiration from the spires of London churches and the masts of tall ships in Canaletto paintings of Venice. On 5 July 2012, The Shard was formally inaugurated by His Excellency Sheikh Hamad Bin Jassem Bin Jabor Al Thani, Prime Minister of the State of Qatar. Its name should really be pluralised: the exterior comprises eight shards of glass slicing through the air.

“Standing at almost 310 metres,” says His Excellency Sheikh Abdulla Bin Saoud Al Thani, Governor of Qatar Central Bank, “The Shard is one of the tallest buildings in Europe. For me, however, the height of The Shard is only a secondary feature. What is special is the solid and continuing relationship between two nations, Qatar and Britain, which was an important factor in completing this project.” Just into its second decade, the point of The Shard is already as integral to the London skyline as the dome of St Paul’s Cathedral. Lunching two years ago in Passionné restaurant, Paris, the waiter and waitress (a couple) excitedly told us about their first visit to London. Where did they head for first? The Houses of Parliament? The National Gallery? The Shard.

The double height Sky Lounge lives up to its name. Fully glazed sloping walls face the ever changing elements while framing views of the Capital far below: Blackfriars Bridge to the west; the City of London to the north; Tower Bridge to the east. Even the bathroom has its own panorama with Southwark Cathedral in the foreground. The three course menu is long enough to satisfy the carnivore to vegan spectrum and short enough not to be hard work on the day of rest. Devon Crab Pancake (avocado, lemon aioli, rainbow relish) and Beetroot Tartare (St Ewe’s organic egg yolk, walnuts, beetroot cracker) are wonderfully light, full of taste and textural contrast. A double buffet follows: The Cheesemonger and Sweet Sensation. Belt bursting Continental and British cheeses vie for attention with irresistible cakes and puddings.

This is our third venture up The Shard. The first was a (very memorable) Royal Town Planning Institute party in December 2019 commandeering the Sky Lounge to crown a year of professional accomplishments. The second (somewhat memorable) was the launch of the Essex Mayoralty Race in December 2025 in the private dining room of Mitie on Level 12. The election was postponed the night before but the breakfast went away anyway. Sunday brunch in the Shangri-La Sky Lounge will soon become a new memory of an elevated afternoon. As winter light glistens over the River Thames in the distance, we raise our crystal Champagne flutes to this 21st century Crystal Palace.

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Art Design

Beaghmore Stone Circles + Alignments Sperrin Mountains Tyrone

The Prehistoric Landscape

Seamus Heaney writes of a “stone circle chill” in On the Spot (2006). The Nobel Laureate Poet was, like most people, fascinated by prehistoric stone circles. He lived a few country kilometres from Beaghmore which lies high in the Sperrins, Northern Ireland’s largest mountain range. This is the darkest nighttime area in the Six Counties, suffering the least light pollution. Beaghmore (Bheitheach Mhór in Irish) means “big place of birth trees”. Dense woodland was cleared by Neolithic farmers and seven circles of stones, 10 rows of stones and 12 cairns were arranged in purposeful ceremonial positioning on the grass and heather clad moorland.

A total of 1,259 stones was uncovered during peat cutting in the late 1930s. Carbon dating places the circles and alignments 2900 to 2600 BC. Some of the stones have chisel marks which may be Ogham, an ancient Celtic secret sacred writing, a system of symbols used for divination in pre St Patrick days. Intrigue and enigma, magic and mystery, nobody knows what Beaghmore Stone Circles and Alignments stand for except for the astrological significance that three of the rows point to sunrise at the solstice and another row is aligned towards a lunar maximum. Millennia later, Bronze Age stones would provide inspiration for Environmental Art practitioners such as the English artist Richard Long. Seamus Heaney writes In A Kite for Aibhin “Back in that field to launch our long-tailed comet” (2010). That would be his last poem.

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Architects Architecture Art Design Developers Hotels Luxury Restaurants

Corinthia Hotel Whitehall London + Crystal Moon Lounge Sparkling Afternoon Tea

Midday Follies

“Love is patient, love is kind.” Corinthians 13:4

The Victorians were radical about town planning. In 1874 the Jacobean Northumberland House just north of the Thames opposite Waterloo in central London was swept away to create Northumberland Avenue. It would be another seven decades before Listing to protect British heritage would come into place. Manolo Guerci records in London’s Golden Mile (2021), “Northumberland House is the westernmost of the Strand palaces, one of the last to be erected and the last to disappear, with a history that spans nearly three centuries.” Tall buildings sprung up along this broad boulevard running from Trafalgar Square to Victoria Embankment. Metropole Hotel would soon become one of the impressive additions to this new townscape.

Francis Fowler (circa 1819 to 1893) and James Ebenezer Saunders (1829 to 1909) are not household names but they were clearly talented architects. Metropole Hotel commissioned by the Gordons Hotels Group was their design. Both men were members of the Metropolitan Board of Works (the forerunner to London County Council) although later removed for corruption. The 600 bedroom Metropole Hotel swung open the doors in 1886 to Savile Row frock coated gentlemen and their Liberty parasol holding ladies. “Meet at the Metropole” became a high societal signifier saying.

The hotel’s proximity to Whitehall Government Offices and the Palace of Westminster meant it was commandeered in both World Wars. In 1936 the building was purchased by the Ministry of Defence and remained in government use until the Crown Estate sold it in 2007. Four years later, the 283 bedroom Corinthia Hotel swung open the doors of the former Metropole building and the adjoining 10 Whitehall Place to Boss suit wearing gentlemen and their Balenciaga bag holding ladies. “Call by the Corinthia” has become a high societal signifier saying.

A storied site history includes Sir Winston Churchill watching the end of World War I street celebrations on 11 November 1918 from the windows of the building. In the 1920s the Metropole was well known for its Midnight Follies cabaret. Spies used one of the rooms and a network of underground tunnels led to government properties nearby. Another room was dedicated to monitoring UFOs. Sir Conan Doyle was a frequent guest: The Sherlock Holmes Pub on Northumberland Street is named after the author’s most famous literary creation. The press conference in James Bond movie Skyfall is set in the hotel.

Corinthia Hotel is an urban château, an impressive wedge of late Victorian architecture terminated by a bowed corner overlooking Whitehall Gardens. A double height oriel bay window projects over the main entrance on Northumberland Avenue. Pairs of Ionic (not Corinthian!) pilasters with swagged capitals frame the fully glazed doors. The basement and double height ground floor of the main block are faced in white stone; the upper five floors are faced in golden stone. The adjoining block is fully faced in white stone. Francis and James Ebenezer didn’t hold back on ornamentation, designing heavily decorated elevational grids of cornices and pilasters and window surrounds. A double row of dormer windows in the steep pitched roofs (some covered by fish scale tiles) is sandwiched between two storey high chimneystacks.

Afternoon tea is one of the truly quintessential British traditions. Top London hotels like to give it a quirky take and Corinthia is no exception. A chilled bottle of Lysegrøn, a Copenhagen Sparkling Tea, is the original accompanying elixir for the dry curious. As the sommelier pops the cork, a fresh citrus and green tea scent is released. The lively taste has notes of lemon grass and orange peel. There are long lasting hints of Darjeeling and green apple.

Hierarchically uniformed staff lead guests up and into the Crystal Moon Lounge named after the 1,001 crystal Baccarat chandelier hanging from a central seven metre diameter glass dome. “There’s just one red diamond orb,” the restaurant manager points out. “That’s appropriate for Valentine’s Day! We are using red striped fine bone china today too.” Ah, Valentine’s Day, the celebration of romance named after the saint whose remains are in Whitefriar Street Carmelite Church, Dublin. Romantic gestures will end with the party favour: a red box of English breakfast tea. “Would you like newspapers?” The Financial Times and Telegraph are delivered to the table. So is The Column, the hotel magazine. One of the waitresses is a fellow Emerald Fennell fan. “Wasn’t Saltburn just the best film? I’m off to see Wuthering Heights on my own later. I can’t wait!”

A glass of hot black Alfonso tea is the liquid amuse bouche. And then a neat row of finger sandwiches arrives (crusts are for starlings). Clarence Court egg mayonnaise with truffle on sourdough bread; Secret Smokehouse smoked salmon, nori and lime on brioche bread; and salted cucumber, chilli and coconut yoghurt on onion bread. Turns out coronation pepper is the new coronation chicken. The sandwich selection is bottomless: this is gonna take time. Cancel the matinée!

A waitress presents a white box of plain and sultana scones with organic strawberry jam and blackcurrant and Star Anise jam with Cornish clotted cream. For a moment, it’s like being teleported to a Week St Mary tearoom. The serving staff are all rather wonderful and good fun. Linen napkins are continually folded and laid; the tablescape constantly updated. “More Milk Oolong?” China is having a fashion moment.

Somebody strikes up chords and chromatics on the grand piano: I Can’t Help Falling In Love with You; I Will Always Love You; You’re Too Good to Be True … An unfallen avalanche of sweets appears. The yellow fruit finds a theme in lemon drizzle cake (an Irish country house favourite) and calamansi cheesecake (Philippine lemon). Apple and Speculoos (Belgian and Dutch crunchy delights) gâteau; pistachio and white chocolate cookies; salted caramel and milk chocolate tart; and vanilla religieuse all take the biscuit. In a good way.

“Afternoon tea is our signature service,” explains the Director of Food and Beverage Daniele Quattromini. “The Crystal Moon Lounge is right here in the middle of the hotel. It’s such a unique space. And we’re fortunate to have a designated time and space for afternoon tea. Our Baccarat crystal champagne flutes match the chandelier above. We have three antique trolleys from the 1920s.” A temporary display of photographic portraits by Lorenzo Agius adds familiar faces to the surroundings.

Corinthia Sparkling Afternoon Tea is one of hundreds of elevated experiences available through SupperClub Dining and Lifestyle Concierge. The Abu Dhabi based company offers members an international luxury range of buffets and brunches, tables and trips, midweek getaways and weekend spas. Just some of the other participating hotel groups include Four Seasons, Mövenpick, Raffles, Rosewood, Sofitel, Waldorf Astoria. SupperClub always lives up to its tagline: “Exclusive benefits, curated offers and frictionless bookings all in one seamless ecosystem.”

In Betjeman Country (1985), Frank Delaney writes about the poet and architecture critic Sir John Betjeman. Frank notes, “Outside in the sunlight, Whitehall shimmers impersonally … ‘Just as an old church is the history of its parish in terms of stone, so is Whitehall the embodiment of England,’ Betjeman wrote carefully. ‘The weakness of this analogy is that whereas most churches are open for the public to inspect, it is well nigh impossible to see inside Whitehall.’” The conversion of this secretive office block back to a hotel, 140 years after it first opened to the public, allows access once more to one of the vast stone buildings of this historic quarter. Corinthia Hotel has added personality, reinstating palatial glamour to Northumberland Avenue. The Financial Times review of the newly released film Wuthering Heights is a reminder love doesn’t always reach perfection. Unlike Sparkling Afternoon Tea in the Crystal Moon Lounge.

Upon leaving, the pianist Kevin Lee plays Moon River, keeping the crepuscular mood lit. He quips, “I’ve done the maths. You’re too young to remember this!” Quite the exit.

“Love never fails.” Corinthians 13:8

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Architects Architecture Art Design Developers Luxury Restaurants

Beijing Daxing International Airport + Zaha Hadid Architects

Radial Romance

Zaha Hadid never did get to see the finished project. She died in 2016, three years before completion. It’s yet another star in her architectural firmament or rather starfish in her architectural ocean. The world’s largest terminal in a single building. All 700,000 square metres. Current Studio Principal of Zaha Hadid Architects Patrik Schumacher was the co designer. The six storey airport – four above ground; two below – is arranged around a “central orientation space dome” to quote Zaha. Five aircraft piers radiate out from this vast atrium. The tip of the sixth arm is filled by the railway station plaza. Max eight minute walks to departure gates. Patrik this time, “Echoing principles in traditional Chinese architecture that organise interconnected spaces around a central courtyard, the terminal’s design guides all passengers seamlessly through the relevant departure, arrival or transfer zones towards the grand courtyard at its centre – a multilayered meeting space at the heart of the terminal.”

Disciplined, rigorous and highly intellectual, the design achieves a large measure of lyrical beauty from its deeply sensuous sinuous architecture meets sculpture form. Daxing is one hour’s drive south of Tiananmen Square, just round the corner in Beijing distance terms. It strategically and symbolically terminates the Central Axis of Beijing. This line leads from the Throne Room of the Forbidden City down the middle of the roughly symmetrical street plan of the city. Illustrated brass plates across the airport floor mark the city as compass: 48 kilometres from Bell Tower; 47.8 kilometres from Drum Tower; 46 kilometres from Pavilion of Myriad Springtimes Jingshan; 44.2 kilometres from Tian’anmen Rostrum; 43.3 kilometres from Qianmen; 41.4 kilometres from The Temple of Heaven; and 40.2 kilometres from Yongdingmen.

Under one of the vast mushrooming ceilings, shopping pods include Bally, Boss, Coach, Michael Kors, Montblanc, Polo Ralph Lauren and Jingdong Convenience Store. On the second floor, East Pacific Passenger Lounge provides a dining area, bar, gym, meeting rooms and bedrooms spread over a large oval floorplate. The great outdoors and indoors collide in themed indoor amenity areas: Chinese Garden, Countryside Garden, Porcelain Garden, Silk Garden and Tea Garden. These oases are sandwiched between the double ended prongs at the five aircraft piers of the symmetrical starfish layout.

There are juxtapositions and there’s the cutting edge Zaha Hadid Architects design (glass and metal) backdrop to the traditional Chinese Garden (timber and stone). Visitors could be forgiven for thinking they have arrived in the Forbidden City without ever having left the airport. A pair of exquisitely painted pavilions filled with polished antiques stand proud on either side of a pond. Rockeries and a gazebo complete the Willow Pattern scene. It’s hard to appreciate the full scope and scale of the airport either upon arrival or from the indoor outdoor experience. The sweep of undulating red roofscape – a contemporary bow to historic Eastern architecture – is best appreciated from the window of a China Southern Airlines plane.

Meanwhile back in London, Serpentine Galleries are collaborating with the Zaha Hadid Foundation this year to commemorate her legacy and mark the 25th annual Serpentine Pavilion – she designed the inaugural temporary structure in 2000. A series of lectures and events will fill architecture and design connoisseurs’ diaries this autumn. Artistic Director of the Serpentine Hans Ulrich Obrist says, “We often quote Zaha Hadid’s belief that there ‘should be no end to experimentation’. Zaha’s spirits remains a vital inspiration for our programme.” Director of the Zaha Hadid Foundation Aric Chen comments, “Through her boundary breaking life and work, Zaha changed the course of architecture. Her early and longstanding collaboration with the Serpentine played no small piece in this. We’re thrilled and honoured to start this collaboration with an institution she was so close to and one that so deeply shares her commitment to innovation and the public.”

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Architecture Art Design People

Spiritual + Physical Health Beijing

Real State  

A cross rising above the central pediment of an attractive if somewhat anonymous looking two storey rendered building may seem at first glance to be a surprising addition to the skyline just north of the Forbidden City in Beijing. Yet Kuanjie Methodist Church in Dongcheng District is one of an estimated 6,000 registered Christian churches and 15,000 registered ‘meeting points’ for five million believers in China. In 1967 the Bamboo Curtain (the Asian equivalent of Europe’s Iron Curtain) was lifted allowing international exchanges in knowledge and ideas to take place. At the same time a desire for spirituality and a religious search for meaning gained momentum. Ever since, the visible growth of Christianity during the post Mao era has been dramatic.

Khiok-khng Yeo is a brilliant academic bridging the gap in Western language led theology to reach a Chinese audience. He seeks to translate his understanding of God and humanity into the indigenous philosophical language of his own country. In What Has Jerusalem to Do with Beijing? Biblical Interpretation from a Chinese Perspective (2018), he filters Christianity through a Chinese prism: “Scripture does not contain syllogistic arguments for the existence of God; rather, it assumes that God exists. The scriptural tradition presents evidence for the existence and nature of God as an encounter with the living God. This tradition is in harmony with Chinese theology, especially when adapted to the yin yang model that speaks of the dynamic, bipolar nature of things.”

“These ‘both-and’ aspects of God are clearly seen in the concept of the Triune God. God is both the yin and the yang,” Khiok-khng contends. “The Trinity is incomprehensible and will always remain a mystery. But the term Triune seems to speak of ‘is-ness’: distinctiveness and relatedness. Note that interrelatedness is not only evident among the Trinity, but also obvious between the Trinity and the world … The Chinese method does not assume or assert its superiority, validity or comprehensiveness over traditional or contemporary methodologies of the West or the East. It seeks only to show the translatability of the Christian truth through the employment of the yin yang philosophy.”

He sets out the tenets of yin yang. Cosmology is more important than anthropology because anthropology is part of cosmology. Reality is change rather than being. Reality is relatedness: yin and yang are mutually inclusive. It’s all about reading the Bible culturally and reading the culture biblically. And a universal acknowledgement that, “For those who believe are entering into God’s rest where God’s presence meets them where they are. It is with every step to the mountaintop and down into the valley of darkness that they encounter God, one another, and themselves. Rest is not inactivity, but instead the untiring activity of that constant encounter with the presence of God.”

Yin yang is better known as one of the foundations of Chinese medicine. Tong Ren Tang Chinese pharmaceutical company was founded in 1669 to serve the Qing dynasty. It uses the philosophy of yin yang to diagnose, treat and balance opposing bodily forces. Dr Linda Chan explains, “Nothing in health is totally yin or totally yang. Relative levels of yin yang are continuously changing in the body. Normally this is a harmonious change but when yin or yang are out of balance they affect each other and too much of one can eventually consume and weaken the other.”

On a midweek winter’s morning, yin yang in action is taking place in Ri Tan Park to the east of the Forbidden City. Ri Tan, the Temple of Sun, was built in 1530 which was the 9th year of Jinjing in the Ming dynasty. It is one of five temple sites across the Capital. In the 1950s Ri Tan was classified as a 21 hectare public park, a green heart of the Chaoyang District. Colourful pavilions atop grey rockeries surround miniature lakes. A group of locals are practising Tai Chi Walking. This exercise is to consciously shift weight to maintain balance and internal flow. The full (yang) leg supporting weight is balanced by the empty (yin) leg which is weightless and ready to move. Arms are stretched out to maintain connection with the body’s centre and improve balance while guiding energy flow.

The philosophy even applies to the national drink of jasmine tea. Its warming yang character balances the cooling yin nature of the usual green tea base to improve digestion and create a harmonious spirit.

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Architecture Art Design Developers Luxury People Town Houses

Forbidden City Bejing + Lavender’s Blue

You Look Like a Beautiful Shaolin Kung Fu Monk

To start an article with a diction caution is rare but before imprecision and overuse dulled its impact there was iconic. And if anywhere owns that adjective it’s the Forbidden City, the world’s largest collection of ancient timber buildings. There are no fears of syntax slips with the highly audible and highly knowledgeable Mandy Wong, China’s leading travel expert, who’s about to condense several millennia of history into a four hour exclusive private tour.

But before a shallow dive into history, some governmental context. Purposeful sweeping change is no accident under the leadership of President Xi Jinping. While many factors have fuelled China’s economic success, his long term planning and a governance model combining strategic five year development plans with flexible adjustments remain among the key drivers, allowing policymakers to efficiently respond to emerging challenges. Western leaders take heed. Steady transformation is closely linked to the authoritative philosophy of President Xi’s The Governance of China. First published in 2014, the latest iteration is Volume V which has been translated into 40 languages.

The publication is a major theoretical innovation integrating the basic tenets of Marxism with China’s national and cultural needs. Volume V is a compilation of 91 of President Xi’s spoken and written works from 27 May 2022 to 20 December 2024. The President delivered a parliamentary speech on 16 May 2024 on The Promotion of High Quality and Sustainable Tourism. He opened by noting since the launch of reform and opening up of the country in 1978 and especially following the 18th National Congress of 2012, China’s tourism sector has enjoyed burgeoning development.

“We should pursue innovation while leveraging the traditional role of tourism, improve the quality and efficiency of the industry, and integrate its development with that of other sectors,” he stated. “Efforts should be made to improve and modernise the industry and strengthen the sector so that it can raise the quality of life, boost our economy, develop our spiritual home, better present the national image, and facilitate mutual learning among civilisation.” President Xi urged central departments and provincial authorities to strengthen their commitment and dedication to fostering high quality sustainable tourism through intensive collaboration for tangible results.

On 28 October 2024, the President made a parliamentary speech on how to Build China Into a Cultural Powerhouse. “Cultural heritage is a compelling witness to the splendid Chinese civilisation and also a precious treasure bequeathed to us by our ancestors,” he explained. “We should have a profound respect for history and love for our culture. We will undertake the systematic protection of cultural heritage under unified supervision and prioritise protection, sound utilisation, and minimal interference.”

Nowhere embodies that diktat requiring unification of supervision, prioritisation of protection, sound utilisation and minimal interference in relation to a historic asset than the Forbidden City. In 1994 the Chinese Government gave workers a second day off each week and so the weekend began. There are 1.3 billion or so people in the Middle Kingdom and today, Saturday, it feels like they have all descended on the ancient heart of the Capital. “Aubergine”! Chinese people say “qiézi” when posing for a photograph. It’s easy to end up saying enough aubergines to fill a field such is the exchange of capturing captivating beauty. But with 74 hectares and close to 1,000 rooms, there’s space for everyone.

President Xi gave a speech on 17 July 2023 at the National Conference on Eco Environmental Protection as recorded in The Governance of China Volume V, confirming, “The blue skies initiative is a top priority in the battle against pollution.” Yesterday and today and the day after were and are and will be blue skyed. “I don’t like the greyness of London in winter. Beijing is like Spain in January!” says Mandy. Except for the minus degrees temperature.

“There were 24 generations in total of the Ming and Qing Dynasties!” she declares at the entrance to the Outer Courtyard. “This really is the forbidden place. Only royals and staff were allowed to enter: everyone else was kept out. The moat is frozen now but in summertime you will see people boating on it. In 1367 the first King built a Forbidden City in Nanjing but he was scared of losing Mongolia so started building the Beijing Forbidden City in 1406. It was very fast building. The whole place was completed 14 years later in 1420. The following year Beijing became the Capital of the Ming dynasty. 14 Ming 10 Qing!”

Mandy blazes through the Outer Court into the Inner Court. “The Imperial colours are red and yellow. Red is lucky; yellow is supreme power. Green is earth; blue is heaven. Symmetry is so important in Chinese culture. Man and woman. Light and darkness. Even the stone animals. We always like balance. There are no trees in the Outer and Inner Courts to make them super safe. Kung Fu fighters could jump very high or hide behind trees. There are 18 layers of bricks under the paving so no tunnelling. Look! There are baby dragons on the roof.”

“Look!” demands Mandy again. “There are also pixiu on the roof. The pixiu is a powerful Chinese mythical creature resembling a winged lion. This creature is revered in Feng Shui as a potent guardian of wealth. It has a big open mouth and a big belly but no bottom: it eats a lot but there is nowhere for the food to go. That represents money not being wasted. The dragon is man; the phoenix is woman. There are no phoenixes and there were no women in the Outer Court.”

A sign along a stone terrace states: “Usually filled with water, these bronze and iron vats were used to protect the Imperial Palace from fire. Between Xiaoxue (Light Snow) and Jingzhe (Awakening of Insects) in solar terms, the vats were wrapped in cotton cloth and covered with a lid. When necessary, charcoal would also be burnt underneath to prevent the water from freezing. The earliest vat now preserved in the Forbidden City was cast during the Hongzhi reign (1488 to 1505) in the Ming dynasty (1368 to 1644). Ming vats are simple yet elegant, with plain iron rings on the sides and a wider upper body with a tapered base. Qing dynasty (1644 to 1911) vats feature rings held by side knobs with the faces of beasts, a large belly and a smaller mouth. At present there are over 200 bronze and iron vats in the Palace Museum, including 22 gilt bronze vats flanking the Hall of Supreme Harmony (Taihe dian), the Hall of Preserving Harmony (Baohe dian), the Gate of Heavenly Purity (Qianqing men) and the Palace of Heavenly Purity (Qianqing gong).”

She relates, “The Emperor had one official wife and hundreds of concubines. He would take a private tour around Shanghai and south China looking for beautiful versatile young ladies who were talented at calligraphy and music and bring them to live in the Imperial Palace. The East Palace in the Forbidden City was where the concubines all lived.” Beyond the red roofs the 21st century raises its head on the skyline. Citic Tower designed by New York practice Kohn Pederson Fox and London practice Farrells in collaboration with the Beijing Institute of Architectural Design is just over half a kilometre in height making it the tallest building in the Capital. There’s a historic link: its gently curving shape increasing in area to the base and top is based on a zun, an ancient Chinese wine holder.

A sign inside one of the pavilions states: “Hetian jade is the central pillar of Chinese jade culture. It comes from the vast and geologically complex terrain of Xinjiang, where archaeological evidence shows that jade has been used for over 4,000 years. Its earliest known use was in artefacts such as jade axes unearthed at the ancient Loulan site in Ruoqiang County, marking the initial phase of jade culture in the region. After the mid western Han dynasty, jade from Hetian began flowing into central China. It would dominate jade craftmanship for the next 2,000 years. From the 26th year of the Qianlong Emperor’s reign (1761) onward, Hetian jade began entering the Qing court as yearly tributes in both spring and autumn, and became the main source of jade in the Imperial Palace. The production and use of Hetian jade wares made an unparalleled advance, sparking another development boom in Chinese jade culture. The collection of the Palace Museum bears witness to over 5,000 years of Chinese civilisation and stands as a testament to centuries of cultural exchange and integration. In celebration of the Museum’s centennial, this exhibition selects representative pieces of Imperial Hetian jade wares of the Qing dynasty (1644 to 1911) from the Museum’s collection. Divided into five sections – Origins of Jade, Ritual Jade, Elegance of Jade, Ingeniously Crafted Jade, and Jade Ornaments and Dining Wares – the exhibition aims to illustrate the rich jade culture of the Qing dynasty, while highlighting historical interactions, exchanges and integration among China’s diverse ethnic groups, strengthening awareness of their shared national identity.”

“That red door has 81 knobs on it,” observes Mandy. “Nine knobs across by nine knobs down. Nine is for longevity in Chinese culture. Nine by nine is 81 is eight plus one is nine. We like the number eight: it means food fortune; you’re gonna get a lot of money. The number six means your life will flow easily like water.” Beyond the Outer and Inner Courts lies a tranquil garden. “This is an outdoor museum not a park,” she corrects. “That’s a young boy talking to a bird using bird noises. It’s a Red Flanked Bluetail – that’s a lucky bird. That brings luck! This is a very special occasion. You’re very lucky!”

Chinese cultural official and scholar Xheng Xinmiao served as the Director of the Palace Museum (as the Forbidden City is now formally called) from 2003 to 2012, shaping the preservation and display of the architecture and collection for future generations. In 2005 he said, “The collection of the Palace Museum primarily consisting of artefacts from the Qing Imperial Palace is both a historical testament to the ancient civilisation of China and a shared treasure of humanity. From 1945 to February 2005, a total of 682 donors contributed more than 33,400 items from their personal collections to the Palace Museum. Their generosity reflects their deep love for this land and exemplifies the noble virtue of serving the public. Among these donations are national treasures that have significantly enriched the Palace Museum’s collection, making its range of artefacts more systematic and complete. On the occasion of the Palace Museum’s 80th anniversary, the Jingren (Great Benevolence) Honour Roll of Donors was established in the Palace of Great Benevolence (Jingren gong) to engrave the names of these donors to display their finest contributions, highlighting their deeds and promoting their spirit. May this tradition of generosity endure as a profound blessing for the Chinese nation.”

On 19 January 2026 seven Chinese Government Departments including the Ministry of Culture and Tourism released a national plan to systematically promote the country’s cultural and linguistic heritage, setting clear targets for 2030 and 2035. Local governments, schools and institutions are encouraged to incorporate language and cultural development into regional planning, urban management and campus activities. Universities are urged to offer public cultural courses such as in Chinese calligraphy. The exquisite hand painted signs over the entrances to the buildings in the iconic Forbidden City are the ultimate symbol of China’s cultural and linguistic heritage.

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Art Design Developers Hotels Luxury People

Waldorf Astoria Hotel Beijing + Zijin Mansion Restaurant Beijing

The Short Now

It’s only 11.30 in the morning and already the restaurant is filling up with the bold and the beautiful, some solo, some plural. We’re in good company. The omnipresent winter sun is flowing into the second floor dining room through louvred windows, simultaneously highlighting and shadowing the beautiful interior like a giant weathervane. In the bowed corners of the quatrefoil shaped space quatrefoil shaped chains hang in front of hand painted silk depicting colourful birds.

In Chinese culture the quatrefoil shape or persimmon stem, symbolises good luck, fortune, prosperity and harmony – like so many things do! Quatrefoils appear again on the deep pile carpet and on the ceiling of the double height foyer directly below. We’re lunching in Zijin Mansion, the Michelin star restaurant in the epic Waldorf Astoria Beijing, beneficiaries of good luck, fortune, prosperity and harmony.

Chef James Wang is celebrating a decade of working up a storm in the hotel. He explains, “Inspired by traditional Cantonese cooking techniques and concepts, Zijin Mansion selects seasonal ingredients and combines them with local dietary culture, presenting traditional and authentic exquisite Cantonese delicacies for diners.” Signature dishes which we will enjoy include Zijin Metropolitan, a rich soup with South African dried abalone and fish maw. It’s the very essence of Hakka flavours.

Feeling dry curious we have a glass of Pinot Noir Sparkling Grape Juice. And then a couple of dozen courses. Yes! Lit to the left: old masters, new mistresses. Appetisers such as Marinated Abalone with Mushroom XO Sauce. Main courses include Panfried Boston Lobster with Basil, Onion and Scallions. Puddings include Double Boiled Coconut Milk with Chocolate Bird’s Nest. We’re eating the menu. All of it. The Chef knows all about delivering refined simplicity while highlighting a respect for the ingredients. Haute cuisine of China on a plate. Or rather a lot of plates, bowls and stands. We’re getting it.

Our bill per head arrives. Amuse bouche 0 RMB. Amuse Bouche 0 RMB. Sparkling Water 136 RMB. Pinot Noir Sparkling Grape Juice 196 RMB Michelin Set Menu 988 RMB. Subtotal 1,320 RMB. Service charge 15 percent. Total 1,518 RMB. That’s roughly £160 per person for a world class leisurely three hour meal so while not exactly bargain basement it does connect to that old Chinese saying, “Cheap things are not good; good things are not cheap.”

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Architects Architecture Art Design Developers Fashion Hotels Luxury People Restaurants

Waldorf Astoria Hotel Beijing + Suite 918

Far Beyond the Banks of the Yellow River and If It Were Not So

Chinese script raises writing to an art form. Chicagoans Adrian Smith and Gordon Gill Architecture’s bronze façade superframe elevates elevation to sculpture. Its eye catching appearance instantly catapulted the Waldorf Astoria to the top of Beijing’s galaxy of five star hotels upon opening in 2014. The architecture never looks better than when all aglow at sunrise and sunset in winter. A shining beacon. Nine bedroom floors have rows of full height rectangular bay windows set into a grid. The bay windows are not uniformly placed but rather are tuned to differing angles and orientations to maximise outlook and natural light penetration. Gordon calls this concept a “compound eye”.

Grey granite as a background material recalls the charcoal bricks of historic hutongs and creates a strong backdrop to the superframe. Standalone corner fins are an elegant solution to housing utilities. The bronze will change colour as it ages – a fitting metaphor for the ever evolving city and its constant flow of frenetic stimuli. The first three levels of the hotel are visually treated as one super plinth: full height louvred glazed panels are uniformly divided by the vertical components of the superframe. This is literally transparent architecture. The Hutong Courtyard behind the 12 storey 170 bedroom main block was designed by Ma Bingjian, the Director of the Beijing Ancient Architecture Design Institute. Inspired by Ming architecture, it provides more luxurious accommodation.

Michael Krauze, Director of Operations at the Waldorf Astoria Beijing, welcomes guests: “We offer a sanctuary just steps from the Forbidden City where Beijing’s superior heritage meets Waldorf’s legendary elegance. Every space is a journey that blends the ancient soul of the Capital with contemporary sophistication. A sincere and elegant service is deeply rooted in the cultural fabric of the city. Our interiors designed by Yabu Pushelburg balance bold contrast with timeless tradition. Every detail reflects exquisite craftmanship creating an atmosphere of refinement. This philosophy extends into every element of our service from checkin to the care of personal concierges, we’re always ensuring every detail is seamlessly arranged.”

Anyhoo, that’s the formalities over. What’s that blast of Channel V music coming from corner Suite 918 on the ninth floor? High above St Joseph’s Church and The Gundam Base on Wangfujing Avenue and Beijing Yintai Jixiang Office Building on Ganju Hutong and Peet’s Coffee in the Macau Centre there’s a non stop party taking place. Lobby, makeup room, drawing room, bedroom, lobby, Aesop goodies filled marble bathroom … it’s like living in a multi compartmented silk and lacquered cabinet. There’s the temptation lurking to never leave best in class Suite 918. By day five bay windows frame the city; by night five bay windows frame the party. The viewer becomes the viewed.

Who needs to venture out to an art gallery when you’re staying in the Waldorf? One of the many strikingly original important artworks hangs in the ground floor Long Gallery – an interior boulevard of desire. A sign next to Abandoning the Precision of Shape by Liu Xiaodong states, “A stunningly evocative oil on canvas painting of the Forbidden City, evoking a timeless dimension where the viewer of the piece is requested to think about the image’s common sentiment in our memory and to question the way we view the outside world.” The artist emerged as a leading figure in 1990s Chinese Neo Realism and has continued to successfully tread the line between figurative and conceptual art ever since.

The Palace Servant by Ling Jian is a powerful showstopper at the end of the Long Gallery. An oil and acrylic painting of an outsized androgynous face has piercing eyes and wedding dress red lips pursed ready to speak and more. In Peacock Alley – a lounge named after the walkway between the original Waldorf and Astoria Hotels – Scattered Aesthetic and Concrete Depth by Chi Peng is a mixed media abstract combining craft and art telling the history of painting on materials other than canvas. An ink on ice paper artwork hangs in the entrance foyer: the two twin teacups and saucers of Shao Fan’s Integrated with the Universe speak of the Taoist concept of being integrated with this world. In a first floor lobby, a cluster of vitrines display Waling Artist in the Wild by Yang Maoyuan. Using classical marble busts as prototypes, he rounds off features and polishes the edges of heads in a conversation about the Chinese philosophy of beauty and harmony.

An absolutely flawless effortless seamless peerless airport to car to suite journey is partly to blame for us not ever wanting to leave. Suave concierges in black and tan uniform rush to open car doors, entrance foyer doors, lift doors, suite doors and later come laden with cake and fruit and bear buddies to welcome in the night. Sunrise, sunset, swiftly fly the hours, seedlings turn overnight to sunflowers, blossoming even as they gaze.

Leave the suite leave the suite leave the suite. Ok, but only for breakfasting downstairs in Brasserie 1893. A Bear Buddy’s Breakfast Menu on our table lists Golden Toast Boats (buttered toast served with maple syrup and berry cream), Crispy Fried Double Layer Milk Roll (served with chocolate sauce, shredded coconut and roasted pistachio) and Dragon Onion Rings. Tempting but nothing beats Tofu Pudding (yellow fungus and egg sauce, spring onion, chilli oil) and Fried Dough Sticks with Soy Milk. That, plus hawthorn strip and snow leopard melon cubes. Red Velvet Croissant (looks like it’s wrapped in streaky bacon outside; burst with cream inside), celery and grapefruit juice, and coffee with sugar crystals of course round off the morning’s sojourn. Sino French cuisine at its finest. This is our winter of content.

Zijin Mansion is the Michelin starred restaurant in our hotel but that’s another story on another storey.

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Architecture Art Design Town Houses

Siheyuans + Hutongs Beijing

Earth Angel

Walking along hutongs is one of the great cultural experiences of Beijing. They are narrow lanes or alleys winding between grouped single storey courtyard houses called siheyuans that allow tantalising glimpses into the residential quarters of locals. The paraphernalia of daily living lines hutongs: laundry, lanterns, flowerpots, chairs, bicycles and the ubiquitous mopeds. A blurring of public, private and shared space adds to their unique charm. Some hutongs include cafés, shops and public conveniences abutting the houses.

The history of hutongs dates from the Yuan dynasty (1271 to 1368) and they remained popular throughout the Ming and Qing dynasties (1368 to 1911). In 1949 records suggest there were around 3,250 hutongs in Beijing, many of them concentrated around the Forbidden City in the Dongcheng and Xicheng Districts. In 2003 only circa 1,500 and that has reduced to about 1,000 such is the demand for development land for multistorey apartment and office blocks. Finally, the Chinese Government has realised their architectural, cultural and tourism significance and hutongs are now protected.

There never were hutongs beyond the Second Ring Road, a highway which traces the line of the city walls demolished by Chairman Mao Zadong in the 1950s. Beijing was a low rise walled city for centuries, the single storey network of siheyuans along hutongs. The flat skyline was only interrupted by landmark barbicans, pagodas and temples.

The courtyard layout of siheyuans, many with cloistered loggias, provides shelter from sweltering summers and icy winter. Grey walls and grey tiled roofs give these inward looking houses an enigmatic appearance. The charcoal colour of the walls comes from the firing technique of spraying water on bricks in a closed kiln. The angularity of the ground floor massing contrasts with the distinctive sloping roofs. Flying corner eaves are not just visually attractive: they are effective for drainage as well.

Plain grey walls are relieved by colourful ornate entrances to grander siheyuans. Chinese architecture is as much about symbolism as beauty and functionality, and entrances are no exception. Shi shi (a pair of stone lions) often guard front doors. The male lion on the right will have his right paw resting on a ball which is for protection and wisdom. The female lion on the left will have her left paw resting on a cub which is for guardianship and compassion. A screen wall just inside the entrance is to block the direct flow of negative energy and provide privacy.

Air conditioners clinging to elevations, some in decorative metal boxes, are the most visible concession to modern comfort. These days siheyuans on hutongs are hot property with a cool cache. On a cold winter’s morning, a group of men are sitting on the pavement outside a siheyuan seemingly oblivious to the minus degrees temperature.

On 27 May 2002, President Xi Jinping addressed the 39th group session of the 19th Chinese Communist Party Central Committee: “China’s long, extensive and profound civilisation is one of the distinctive qualities of the Chinese nation. It underpins contemporary culture and creates a spiritual bond among all people of Chinese descent across the globe. It provides valuable resources and inspiration for China’s cultural innovation.” Beijing’s hutongs vividly illustrate that distinctiveness while their continued use and, in places reinvention, is a marker of cultural innovation.

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Architecture Art Design Developers

St Joseph’s Catholic Church + Wangfujing Church Beijing 

A Colossal Hope

“We live in a word based universe. That’s the key of the logos for me. This universe is not simply a product of natural unguided forces. It is a product of a rational Creator,” says mathematician and theologian Professor John Lennox. “As you get nearer the end hope should get brighter.”

Religion is the hurrah of the unoppressed creatures, the heart of a loved world, and the soul of soul felt conditions. It is the opium of the people. And why not? Subversive solace of the higher kind along this fleeting avenue. St Joseph’s Church (also known as the Wangfujing Church) has had an eventful past. In the 12th year of his reign, 1655, the Sun Zhui Emperor of the Qing Dynasty granted two Jesuits missionaries a courtyard. The Italian Father Louis Buglio and the Portuguese Father Gabriel de Magalhauens built a church on the site.

In the 59th year of the reign of the Kang Xi Emperor, 1720, the church and its outbuildings collapsed during an earthquake but they were rebuilt the following year. In the 12th year of the Jia Qing Emperor, 1807, the church library and most of the outbuildings were destroyed in a fire. The Emperor then ordered the church to be demolished and just one outbuilding remained as a prayer house. Bishop Louis Gabriel Delaplace raised overseas funding to erect a new church in 1884. During the Boxer Rebellion, on 13 June 1900 history repeated itself and the church was demolished. So far so not so good.

The Jesuits rebuilt St Joseph’s in 1904 in an uplifting Romanesque Russo French style. It’s constructed of stone as grey as the brick of the adjacent Ganyu Hutong. Why have one belltower when you can have three? A fearfully and wonderfully made domed acoustic trinity. The first half and more of the 20th century continued to be pretty rocky. The church was closed in 1966 during the Cultural Revolution but then in a change of fortune the Beijing Municipal Government under Paramount Leader Deng Xiaoping funded its restoration a decade later. St Joseph’s has been an active church and tourist attraction ever since reopening on Christmas Eve 1980. At Sunday morning Mass, a full congregation heartily sings in Mandarin, facing a white baldacchino (replicated outside) below crystal chandeliers. Words matter. Zànměi zhǔ!

“The anchor point in the end is that the logos became human and we beheld His glory: a human being in which God encoded himself in Christ,” says Professor John Lennox. “The hope for the future depends on the events of the past. There’s a new world coming. And it’s going to happen.”

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Architecture Art Design Fashion Hotels Luxury People Restaurants

The Peninsula Hotel + Jing Restaurant Beijing

Peking Pie

“Jing” has multiple Mandarin meanings including peacefulness, reverence and essence. And as it turns out, marvellous restaurant. Welcome to The Peninsula Hotel where no man is an island.

It’s a bit like eating in a super posh Westfield if you’re a Londoner or Macy’s for New Yorkers. The lower and much lower ground floors of The Peninsula form one of Wangfujing District’s finest luxury shopping malls for well dressed interiors and citizens. Basement Level I: Arc ‘Teryx, Chanel, Giorgio Armani, Jenny Packham, Louis Vuitton, M L Luxia, Minotti by Domus Tiandi, The Peninsula Boutique and Zilli.  Basement Level II: Baxter, Domus Tianti, Giorgetti, Henge, Living Divani, Oluce, Onno, Poliform, Promemoria and Salvatori. Jing Restaurant is on Basement Level I. Its little sister Huang Ting Brasserie is on Basement Level II.

We’re celebrating life in a rather literal way having dodged the ubiquitous duvet clad mopeds which swerve and keep going rather than stop at pedestrian crossings. All those inflight Baduanjin exercises on China Southern Airlines possibly made us more supple at dodging oncoming traffic. At this rate we’ll be up for some postprandial synchronised dancing later in Ri Tan Park. Front of house, or rather front of retail unit, beckons us to the bar. A card awaits: “Dear guest, welcome to Jing. Before starting a gastronomic journey we invite you to enjoy one glass of apéritif at the bar. Bon appetit! Jing team.” The apéritif is a Kalimotxo which originates from Basque Country and is a combination of red wine and cola. A bottle of Domaine de la Taille Aux Loups, Montlouis Sur Loire Remus, 2023, swiftly follows.

Hand painted wallpaper and gigantic circular semi transparent silk embroidered screens cocoon guests in luxurious surrounds. French born Chef de Cuisine William Mahi is redefining modern French cuisine with Basque and Asian creativity. Mang-mang sik! He teases out the essence of food sourced from the China Sea, Chongqing farms, Sichuan Lakes and Yunnan Mountains with precision, sincerity, refinement, purity and harmony. We get around so what are our cornerstones of a beautiful meal? Easy. Hervé This defines three out of four of them in Molecular Gastronomy: Exploring the Science of Flavour, 2002. All non calorific.

Champagne: “When we hear the unmistakeable sound of the cork popping off a bottle of Champagne, we stop talking and look closely at what happens as it is poured into our glass. If the foam subsides slowly, if the frill of bubbles is delicate and persistent, and if the liquid is effervescent, the wine is considered to be of good quality.”

Truffle: “The black diamond! An immense amount of ink has been spilled in singing its praises. No food writer fails to mention its appearance on a menu, and no chef neglects to feature it when he aims for stars. In Europe there are 10 sorts of truffles, which is to say mushrooms of the Tuber genus. The black truffle, also called a Périgord truffle, is harvested principally in Spain, France, and Italy, but its gastronomic qualities vary from region to region.”

Foam: “Low in fat because they are essentially made of air – foams came to prominence with the rise of Nouvelle Cuisine in France in the 1960s and then gained broader popularity as a consequence of the growing interest in lighter foods on both sides of the Atlantic. Today, with the advent of molecular gastronomy … they are very fashionable among gourmets.”

Caviar.

Dom Pérignon. Champagne, tick. A waiter appears with a bread trolley and gives a performance of firmly slicing the freshly baked offering while pointing out the yeast jar on display. The staff to client ratio is high although it is a random Wednesday lunchtime. Piped easy listening jazz contrasts with the formality of service. Sweet pea tarte amuse bouche. The Brie Truffle (Normandy Brie D’Isgny, Yunnan black truffle, pear). The black stuff, tick. Spider Crab Tart (spider crab, shiso, sea urchin, basil oil, oxalis flower, citrus confit, crab foam, horseradish, dill flower). “The crab consommé has been simmered for 24 hours,” the waiter explains. Foam, phew. Scallop Blanc de Noir (pan seared scallop, brown butter, pear). Ya’an caviar and chive salmon tartar amuse bouche deliver the fourth cornerstone of a beautiful meal.

The dining space as subterranean capsule. Underworldliness. A sanctuary of taste. Who needs windows when you’ve priceless contemporary art to admire? Chi! Chi! Chi! Such is the importance of food that while Europeans count heads per population, Chinese count mouths. Spinning plates: Maître d’ Oliver Huang and his waiting staff are as deft and elegant as ballet dancers, effortlessly weaving round the tables with extravagance of grace and posture in a timeless duration of curation for this is not mere service.

Edible flowers are scattered over one course. Ah! Could this be our fifth cornerstone of a beautiful meal? Fig walnut toast with brie truffle mascarpone followed by a glass of Americano egg foam tick two of our current cornerstones once more. Peartree and cinnamon clove ginger tea is the ultimate palate cleanser. The waiter dons white magician’s gloves for handling the silverware – a drawer full of cutlery appears and disappears throughout the meal. The stiffly starched linen tablecloth covering the round table as big as the silk screens is regularly hand vacuumed. Steaming hot hand towels keep our hands clean.

Protein forward Chinese truffles come from the foothills of the Himalayas where they are harvested at an altitude of about 2,000 metres. The main production areas are Yongren County in Yunnan Province and Panzhihua in Sichuan Province in very southwest China. They are planted at least a dozen centimetres below ground. The Chinese truffles have a bumpy dark brown surface covered in low scales displaying an inverted pyramid form with a square base similar to the Périgord truffle. Lunch in Jing is all about gourmet satisfying fashionable molecular gastronomy.

Oh and for good measure, “Bei” like “Jing” also has multiple Mandarin meanings including preciousness, treasure and north. Jing relishes in preciousness of cuisine in an artistic treasure trove north (east) of Tian’anmen Square. Nothing too tenuous there.

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Art Design Fashion

Hanfu + Beijing

After a Fashion

“Boom boom boom boom, boom boom boom boom, boom boom boom boom, doom doom doom, ok boom boom, toom toom, ok boom boom.” The catchy lyrics of Taiwanese popstar Angela Zhang’s hit (written by Harry Sommerdahl and Yi Wei Wu) go down a storm with the bright youngish things clad in Urban Revivo designer gear in downtown Beijing clubland. So far so 21st century. But away from the midnight smoky dancefloors, daytime streetwear in the Chinese Capital is taking on a different look. Very different.

Strolling down Donganmen Avenue biting on tanglulu, a Beijing street food of skewered fruit dipped in hardened sugar syrup, the bright youngish things could just as easily be sipping jasmine tea centuries ago in the Forbidden City. What’s happening? A millennia old fashion has been popularised by that most contemporary of influences: social media. Historical television dramas like The Story of Minglan set in the Northern Song Dynasty of 960 to 1127 AD are also fuelling the fashion.

Local tour guide Mandy Wong explains, “The Imperial style is super popular with young people coming from remote villages to experience life in Beijing. About 60 percent of immigrants in the city come from the Chinese countryside. Beijingers are also getting in on the act. Hanfu as it’s called is more than just fashion: it’s a way of expressing a form of national pride and cultural heritage that was suppressed last century. They are dressing like the Imperial royal family and their concubines, servants and warriors.”

Han Chinese is the world’s largest ethnic group and the name derives from the Han dynasty of 206 BC to 220 AD which shaped and unified Chinese civilisation. The style though originated in the second millennium BC so today’s generation have plenty of opportunities for breadth of eclecticism and depth of interpretation. Key components are Beizi (a cloak popularised by later dynasties), Ruqun (a short jacket and long coat) and Shenyl (a robe worn by Han and Jin dynasties). As for headdresses, the silhouette rules whether wearing a Mianliu crown with tassels or a Fenghuang crown with jewels. Some of the boys complement their dark outfits with guyliner. The girls’ pale foundation matches their long white fur trimmed capes. Fans double as sun protectors, even in winter.

It’s a case of the Emperor’s old clothes.

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Architects Architecture Art Design Developers Hotels Luxury People Restaurants Town Houses

Lavender’s Blue + Beijing

Like You Never Went Away 

You’re everywhere. Empirically attractive, imperially gorgeous. Positively pulsating with pulchritude. And as for this current megalopolis: it’s the acme of urban aspiration and cultural inspiration. Amongst the jade and jardines and jacquard silks; amidst the mist shawled vales and curlicued dragons and parasol clutching mandarins; centrist centring on the premier international consumption hub to the east of the world’s longest central axis, we’re doing our germane best for Sino Anglo Irish relations. Recalling the sinistral Ming and Qing dynasties; admiring the syncretic Xi Jinping era. Our very own white lotus revolutionary revelation has begun. Focusing on the glimmers. Hypnogogic mesmerisation; pedagogic realisation. We’ll always remember you dancing under city lights.

In years to come, looking back over Lavender’s Blue, reflecting on its modest commission to simply brighten the reader’s day, this record of a midwinter’s visit to Beijing – pics and prose capturing the paradigm of a paradisal time – will surely be seen to have delivered that meek mission. Although the ending of Marcel Proust’s 1913 The Way by Swann’s does caution, “The places we have known do not belong solely to the world of space in which we situate them for our greater convenience. They were only a thin slice of contiguous impressions that formed our life at that time; the memory of a certain image is only regret for a certain time; and houses, roads, avenues are as fleeting, alas, as the years.”

Wherever there’s the high life there’s Lavender’s Blue. Especially on days ending with a Y. Perhaps it really is then an infrangible storehouse of exquisite epiphanies with a strong dose of chimerical aestheticism. A finely hewn form of winsome writing and formidable photography. Savour each missive from our Champagne fuelled truffle laden foam light caviar heavy production line of epigrams and epiphanic imagery. Dithyrambic ramblings are us. Think Felicità. Like very fine wine, Lavender’s Blue is an acquired taste. But – health warning – those who remain intellectually alert enough to sup at this fountain will end up addicted. We’re talking opium level.

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Architects Architecture Design Developers Hotels Luxury Restaurants

Michael Manser Associates + Hilton Hotel Heathrow London

So Glad

If Ada Louise Huxtable said you’re good, you’re good. She was the American queen of architectural criticism (died in 2013). The visual counterpart to her literary excellence was Deborah Turbeville the American monarch of the camera (died in 2013). United States creative royalty. “The high priest of High Tech” is how she described Norman Foster (still going strong aged 90) in On Architecture, 2008. The first architecture critic of The New York Times (reigned supreme from 1963 to 1981), Ada was blessed with good looks and a way with words: “The English architect Norman Foster is a master of fine tuned exquisitely honed minimal technology. In his choice of materials and structure he uses, with remarkable eloquence, a fastidious aesthetic that derives from engineering but quietly makes it clear to the viewer (as with the 1991 exhibition rooms of the Royal Academy of Arts in London) that a series of highly intelligent choices has been made.”

Hilton Hotel Heathrow looks like it was designed by Norman Foster. It wasn’t. It’s unknown if Ada critiqued Michael Manser Associates but if she had it may well have been along the lines that they are the high priest acolytes of High Tech. Completed in 1990, the hotel (formerly known as the Sterling) gets a mention in Flying in the Face of Mediocrity, an article scribed by Alan Powers for the 28 February 1991 edition of Country Life. He applauds how the transparency of High Tech architecture recaptures the romance of travel. The hotel gets a mostly positive reception:

“The question of the traveller’s psychology in relation to buildings comes into play with the recently completed Sterling Hotel by Michael Manser Associates, linked to Terminal 4 at Heathrow. The architectural and planning record of Heathrow is not distinguished, and the hotel occupies an awkward pocket of land in the crook of a spur road. Its dazzling whiteness is impressive, and one immediately reads the skewed plan, with a full height atrium between two banks of hotel rooms. The detailing is High Tech rather than the Miesian style associated with this firm. Interesting effects of shadow and light are achieved with the cutaway end façades, but the whiteness is too insistent, and the way the skew is carried through the plan too diagrammatic and unrelieved. The result is that the sitting spaces feel overexposed in a great hotel ‘landschaft’, and one of the major functions of such a building – to calm and reassure the stopover traveller and provide a human scale in relation to journeys of thousands of miles – seems to be lost.”

Over to the architects, “The requirement was for a four star four hundred bedroom hotel on the south side of Heathrow Airport adjacent to Terminal 4. Our client specifically wanted a landmark building on a tight budget. A very clear spatial and organisational brief from the client allowed us to produce an extremely efficient plan where two blocks of bedrooms flanked a large atrium within which were all the public areas. The hotel was designed, built and opened in 27 months, including the planning process. The hotel was the first in the UK planned around a central atrium, was the first to use cement particle board for partitioning and developed an entirely bespoke but economic external cladding system. The huge atrium, with extensive views east and west creates a dramatic effect. The arrival at the hotel certainly sparks a level of theatre and drama not normally seen at airport hotels.”

Moving on, central lounge as airport hangar, a spectacular solid plane to glass expanse ratio, making a virtue out of fire escapes as elegant as Art deco diving pool spiral staircases, the Heathrow Hilton Hotel is a bold statement aging well. That’s the thing about architecture ahead of its time: four decades later it looks contemporary. There’s been a recent atrium refurb by Hirsch Bedner Associates. Associate Director and project lead Matteo Pace states, “All too often airport hotels lack character and imagination, so we were thrilled that Hilton were open to us being creative, allowing us to design a welcoming space that is connected to nature. Located at one of Europe’s busiest airports, the public spaces at the Hilton need to cater to all guests. Be it leisure or corporate visitors, we wanted to create somewhere that they can really enjoy and that enhances their travel experience through inspiring, thoughtful design.” A sculptured chandelier radiating over reception and wooden walls echoing “the undulating British landscapes” are resultant highlights.

What’s it like to stay in these days? Well there’s a catwalk straight from the hotel to Terminal 4 Departures. A Planet Burger (plant based patty, tomato chutney, gem lettuce, smoked Applewood, red onion, pickles, potato bun, plant mayo, fries) in the atrium restaurant is a good distraction from onward destinations. As is the gaggle of gorgeous Emirates airhostesses gathering in reception. The diamond shaped plan means the atrium is sandwiched between two cliffs of sleeping accommodation. A backlit pixelated map of Europe takes the place of meaningless art in each guest room. Crabtree and Evelyn toiletries encircle a Porcelanosa teardrop basin in the en suite bathrooms. A triangular wedge of precious green and blue outdoor space is attached to the rear of the hotel offering fresh produce. Ada Louise Huxtable would approve: to her sustainability was always more than just design.

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Architecture Art People

Ming Wong + The National Gallery Trafalgar Square London

Gallery as Mirror

The Director of The National Gallery, Sir Gabriele Finaldi, introduces the 2025 Artist in Residence Ming Wong. It’s the screening of Ming’s 20 minute film Dance of the Sun on the Water (Saltatio Solis in Aqua) in the underground Pigott Theatre below the bustle of Trafalgar Square. Sir Gabriele states, “The Artist in Residence programme has been running here since the 1980s. It’s amazing to think it’s over a generation old and the number of artists who have come through The National Gallery and sort of lived with us and then produced an exhibition. I think back to Paula Rego, Maggie Hambling, Peter Blake, George Shaw and in its most recent iteration I think of Rosalind Nashashibi, Ali Cherri, Céline Condorelli and Katrina Palmer. We’re very pleased to welcome Ming to this roll call of distinguished artists.”

He continues, “We’re very proud that The National Gallery has a practising artist’s studio in it. You may think of The National Gallery as a museum of old art but in fact since its beginnings it’s had a particular concern to be open and welcoming to the creative activity of contemporary artists. That’s the studio that Ming has been working in – it’s a sign of our commitment to continuing the tradition of an artist coming to experience The Gallery, to experience The Gallery as a colleague, and to turn that into an artistic response of their own. That’s what we’re seeing Ming do at the moment. He’s decided to respond to the rather amazing group of paintings of St Sebastian. The Artist in Residence’s response is always very personal and that’s what makes this significant and distinctive. It’s also offers a prism for the public to look at the Collection in a different way.”

Priyesh Mistry, Associate Curator of Modern and Contemporary Projects at The National Gallery, confirms that the 55 year old Singaporean artist Ming has produced an incredibly involved outstanding project presenting St Sebastian for a contemporary audience. Ming worked for 10 years in London after completing his Masters in Fine Art at Slade School of Art before moving to Berlin, explains Priyesh. The artist drew on experiences of his formative years in London. Ming Wong arrives in The Gallery as St Sebastian, arrows piercing his tweed jacket. The full meaning of the artist as art will soon be revealed.

Ming shares his thoughts on being appointed Artist in Residence: “First of all a feeling of puzzlement – why me? And then very quickly when you accept this residency you know that the screws are tightened. That was followed by a period of awe and fear which was assuaged very quickly when I met the team that we have here at The National Gallery. It’s such a privilege when I’m being taken around by each and every curator who showed me their ‘babies’ in the Collection, meeting heads of departments, getting to know how things function in this institution. That was a marvellous opportunity. It took me almost eight months before the idea landed of what I wanted to do.” Coinciding with the end of The Gallery’s bicentennial celebrations, Ming wanted to acknowledge the scope of history and time across centuries and geographies.

During his research he was surprised to come across St Sebastian reappearing in so many different guises down the ages. “I learnt more about his martyrdom and what he represented to people over the centuries,” Ming says. “As a protector against the Black Death, as patron saint of athletes, archers, policemen … It wasn’t until I decided to rewatch the 1976 film Sebastiane by Derek Jarman that things started to click. I work a lot with the history of cinema. In a way I am copying the Masters only in my case I tell stories with moving images. These clues all came together. It was late in the day when I had the idea and then we had to get into production almost straight away because I knew we had an opening in January!”

That chequerboard sun dappled staircase rising above the Pigott Theatre past carved stone letters leading onwards and upwards, ever ascending, to The Sainsbury Wing and Gallery 10. Ming’s artwork sits in the middle of the spaces hung with paintings of St Sebastian. He shares how his idea for “medieval televisions” transmitting Dance of the Sun on the Water (Saltatio Solis in Aqua) was inspired by the narrative pictures in predellas of medieval altarpieces. The use of Latin dialogue with Latin and English captions was inspired by Sebastiane. He chose a cast of Asian or part Asian actors, mostly British, who along with the artist play the role of Roman soldiers as well as taking it in turns to be St Sebastian.

Back to the artist’s pierced tweed jacket. Spoiler alert: Ming Wong’s message is we are all visitor and apparition. Destroyer and martyr. History is us. We are Roman soldiers. We are St Sebastian.

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Architecture Country Houses People

The Lindesays + Loughry Manor Cookstown Tyrone

Ladies First

Hansard, the Government record of the Houses of Parliament, logged on 25 April 1907 a question raised by Thomas Kettle, MP for Tyrone East, “To ask the Chief Secretary to the Lord Lieutenant of Ireland when, and in what manner, the land and buildings known as Loughry Manor, situated near Cookstown, County Tyrone, were acquired by the Department of Agriculture and Technical Instruction; and what use, if any, has been made of them since they were acquired?”

The response from Augustine Birrell was, “The Department of Agriculture received possession of Loughry Manor in the summer of last year, having acquired it by purchase in the superior courts. The property was acquired for the purpose of establishing a school of rural domestic economy for girls in the north of Ireland. The work of adapting the house to the required purpose is now about to be carried out. It was not possible to undertake this work at an earlier date, but it is hoped that the school will be ready to receive pupils next winter.”

An initial visit to Loughry in 1969 stimulated Nicholas Lindesay’s interest and he has researched his family history and connection to County Tyrone ever since. “The Lindesays originated from Leith, Scotland, and like the Stewarts of Killymoon Castle they were a Plantation family,” Nicholas explains. “My great grandfather times seven, Robert Lindesay, was the first to take advantage of the grant from James I in 1610, settling first on the hilltop at Tullahogue. The second Robert built Loughry, which means King’s Gift, in 1632. Ownership of Loughry passed out of the family on 1 February 1895. In some ways it was lucky that it became the Ulster Dairy School and later taken over by the Department of Agriculture, Environment and Rural Affairs because the estate remained as one.”

The original Loughry Manor was destroyed in the 1641 Rebellion and a replacement house not commenced until three decades later. A second house was completed in 1674 just after Robert’s death and continued to be the Lindesay residence until it was accidentally burnt down circa 1750. The handsome five bay two storey steep double pitched stuccoed main block of the current Loughry Manor is the third Lindesay house on this site. The Tuscan porch, decorative mouldings, two pane sash windows, and wings would follow. The mid 19th century owner Fritz Lindesay lived a little too well and by his death in 1877 had amassed debts in excess of £42,000. His successor Joshua lived frugally and vacated Loughry for Rock Lodge, a smaller property to the south of the estate.

Joshua died in 1893, leaving the family’s financial issues unresolved, and the entailed estate was sold by Lieutenant Colonel Henry Richard Ponsonby Lindesay of Devon to local businessman John Wilson Fleming, the last private owner. A long two storey Arts and Crafts style wing terminating in a square three storey tower was added by the Ulster Dairy School in 1906. Then in 1949 it became Loughry Agricultural College for female students. It took another 13 years before male students were admitted. Standalone educational buildings were built from the 1960s onwards but the 80 hectare parkland setting can still be appreciated.

Nicholas Lindesay confirms that turn of the 18th century owner Robert Lindesay wrote, “There is an old summerhouse at Loughry, a square turret surrounded by ivy and built upon a cliff impending a beautiful meandering river full of rugged rocks even which its waters rush with impetuosity and grandeur, particularly after rain, and on the opposite side a wooded bank rises abruptly to a considerable height, presenting to the eye a variety of majestic timber and environmental trees of oak, beech, elm, fir and ash… this square turret consists of one single room and a wine cellar hewn out of the limestone rock below, with two massive oak doors eacj about a foot and a half wide on which are affixed tremendous hinges, locks and keys.”

Robert was the fourth of the 10 Lindesay owners of Loughry. He was MP for County Tyrone, a Judge of the Common Pleas and a friend of Jonathan Swift who was Dean of St Patrick’s Cathedral Dublin and author of Gulliver’s Travels. Nicholas notes, “The Dean was a frequent visitor to Loughry and it is said that he wrote many of his books and poems in the peace and tranquillity of the summerhouse accompanied by his friend Robert Lindesay who also possessed literary talent.” Loughry Manor and Dean Swift’s summerhouse are still intact but currently unused. A faded sign on the ground floor of the return wing “Swifts Bar” (missing an apostrophe and clientele) hints at happier times.

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Architecture Country Houses Design Developers Hotels

St Ernan’s House + Island Donegal

A Memory of A Memory

A shimmer of morning light rushes across the motionless water and in a flash illuminates the house in a golden glow. The dash and hue of nature dictate the hurried glory of sunrise. Is this Ireland’s most beautifully situated house? Where are the contenders? Little wonder it has sent countless photographers into ecstasy, numerous architectural historians into a frenzy, and even inspired a novel. County Donegal: that’s the location. Donegal Town: that’s the nearest cèilidh. St Ernan’s House on St Ernan’s Island: that’s the never forever home.

First the literary giants who paved the way. Mark Bence-Jones gives it his best shot in A Guide to Irish Country Houses, 1978, “A house on an island in the estuary of the River Eske, built early 19th century by John Hamilton of Brownhall; then passed by John Hamilton’s daughter Annabella, wife of A H Foster. Subsequently owned by Henry Stubbs, who largely rebuilt the house, so that it became late Victorian in character, with gables and ornate bargeboards; but with a pillared porch, which was probably a surviving early 19th century feature. In the present century, it was the seat of the Honourable Matthew Fitzmaurice-Deane-Morgan, afterwards 6th Lord Muskerry.”

And then there’s Professor Alistair Rowan who spoke so eloquently and movingly at the much loved Dorinda Lady Dunleath’s Memorial Service in 2022. He writes in his Guide to Northwest Ulster, 1971, “This was the island retreat of John Hamilton of Brown Hall (1800 to 1884), the author of Sixty Years Experience as an Irish Landlord. Mr Hamilton took a romantic fancy to the island, laid out a pretty garden on it, with a wall round the shore, and built a two storey Regency style cottage there between 1824 and 1826. It is five windows long with a continuous verandah running the length of its front across canted bays at either end. The setting is indeed glorious, but the romantic whim of a young and newly married proprietor proved inconvenient. For most of each day the island was cut off either by the tide or, worse, by impassable shallows of mud. The construction of a causeway, despaired of by professional engineers, was achieved by Hamilton with free labour from the surrounding country.”

The most complete history is The Story of St Ernan’s, an undated booklet compiled by George Seaver and based mainly on John Hamilton’s Memoirs as well as “memories of some old folk communicated verbally to the compiler”. It opens with references to the eponymous saint, an acolyte of the better known St Columbanus. In circa 640, St Columbanus was buried in a monastic settlement to the south of Donegal Town. Red Hugh O’Donnell would build a Franciscan Abbey in the same area in 1474. “It may well have been the Friars there who gave the name of St Ernan to the island,” George reckons.

He writes, “The house owes its existence to a moment of impulse on the part of a wealthy young landowner of ancient Scottish lineage named John Hamilton, proprietor of Brown Hall in the neighbouring parish of Ballintra.” John was born in Dublin in 1800 and orphaned age seven, he and his siblings were brought up by their grandmother Lady Longford of Pakenham Hall in County Westmeath (now known as Tullynally Castle) and their relatives in Dublin. He married Mary Rose of Dublin in 1823 and they took up residence at the family estate of Brown Hall before selling their share to John’s brother. Around that time, John took a novel approach to solving a local argument: “There was a dispute between two of his tenants who had grazing rights for sheep on St Ernan’s Island, and he rode over from Brown Hall to settle it. It was, he wrote, a beautiful day in September; the tide was in, the sun was shining, the view was delightful. ‘I settled the dispute by taking the island for myself.’” Two years later, the happy couple moved into a newly built cottage on the island.

There was a practical issue as Professor Alistair Rowan observed. Accessibility. At low tide one could wade across to the island; at high tide one could row; at half tide, neither. “A rapid current flowed through the channel from south to north,” George records. “John Hamilton resolved to block it up entirely and thus deflect the current from its course to form a new channel through a sandbank that lay between St Ernan’s and Rooney’s Island to the south of it. Employing up to 100 men at a time he started building a dam reinforced with large round stones across the channel from both ends at once.” Equal opportunities were at work although it would be even more surprising if indeed it was free labour as Alistair claims. “One morning, hardly had a strong party of Orangemen from a Yeomanry Corps arrived from a village six miles away, than another party of equal force who were Roman Catholic Ribbonmen appeared from a mountain property even farther distant in an opposite direction.” The combined workforce got to it and completed the causeway over six weeks during a hot and dry summer.

“The completion of the causeway enabled him to transform the house on the island from a cottage to a substantial mansion with stables and coach house, a barn and various sheds, which grew with the years,” George notes. “The immense quantity of stone for their construction came from the Drumkeelin quarries above Mountcharles. These abound in a hard durable sandstone of a tawny mottled blue, laid in horizontal strata of convenient thickness easily sawn into the required size and shape like slabs of cake.” The rubble used to mortar the freestone was a soft limestone found on the shore close to where the gatelodge was later built, mixed with sand and ox blood. Horse drawn carts of building materials trundled across the causeway as the beauty of the house took shape.

He continues, “It is certain that the back door, heavily buttressed and with an early 19th century fanlight above it was the original front door; and the present front door, with two flights of steps below it leading down to an open space for cars, was a much later addition. Indeed, the entire south front of the house including the morning room and large drawing room and bedrooms and attic above them are also comparatively modern. The ‘garden close’ of 1826 became in course of time a high walled space of flowers embowered with various trees and some rare shrubs (from Ardnamona), interwoven with a maze of wood walks which led to a large stone bench at the end of the Island. It is still there and still known as Abraham’s Seat (the Reverend Abraham Hamilton was once John’s guardian uncle) and it commands a view of one of the most significant seascapes in Ireland.”

John Hamilton became a Christian in 1827. “What was traditional religion now became personal, and to the end of his life a vivid and earnest faith showed itself by a self denial, a thoughtfulness for the good of others and a sense of justice, combined with a liberality of mind and a freedom of enquiry not easily confined within the then popular systems or religious beliefs. He was in fact ecumenically minded generations before the idea had occurred to churchmen, because the Christian faith was for him personal discipleship rather than a system of ecclesiastical or doctrinal shibboleths.” John launched a Sunday school and Bible class in a schoolhouse he built on the edge of his estate, attracting 1,200 attendees. John donated to both Church of Ireland and Catholic church building. “In 1829, the year of Catholic Emancipation, he was active in suppressing, more than once at personal risk, demonstrations of belligerent Orangemen.”

John continued to put his faith into practice at the most traumatic time in Ireland’s history. According to George, “His exertions for the welfare of his tenantry during the terrible years of the Potato Famine were such that not one became an inmate of the union workhouse or died of starvation, and the only death that occurred on his property was attributable to other causes. It must have been during these years that as a measure of finding employment he encircled the entire island with a ‘famine wall’ 10 foot high, and extended the same operation to the opposite shore.”

Father John Doherty was the Parish Priest of Donegal Town and, despite his general opposition to the landlord system, told the Derry Journal in October 1880, “In all Ireland there never was, nor is there, a more considerate and humane landlord than the good and kind hearted proprietor of St Ernan’s. I know the pulse of his tenants well, and I know of my own knowledge that they honour him, respect him, and love him for personal kindness and friendliness towards them, and for his sympathy in all their worldly fortunes and mishaps. They regard him more in the light of a friend and benefactor, like his Master ‘going and doing good’, than as a landlord.” John Hamilton would die four years later.

His daughter with her husband Arthur Hamilton Foster inherited St Ernan’s. The property was sold after Arabella’s death in 1905 to Henry Stubbs (suggesting the Victorianisation mentioned by Mark Bence-Jones would have more likely been carried out by the Fosters). It was next bought by the Muskerry family and passed to Alma Elimina Blanche West in 1954. George Seaver notes, “Having a home of her own in Wokingham and a sufficiency of worldly goods, she wanted neither to occupy nor lease it.” Instead, Alma donated St Ernan’s to the Representative Body of the Church of Ireland and until 1983 it was used as a retirement home for clergy families before becoming a hotel.

Gillian Berwick includes St Ernan’s in Splendid Food from Irish Country Houses, 1990, “St Ernan’s House (now Ernan Park) on the 8.5 acre St Ernan’s Island near Donegal Town is close to some of the most beautiful scenery in this scenic county. Its creator sited his house on the low point of the island to protect it from the wild Atlantic winter gales. He built protective walls so that he could cultivate trees, and laid out attractive walks around his little domain. The restored interior of this manor house is strikingly beautiful with antiquity, colour and pattern inspiringly blended. As befits such a house, service is personal and charming. The views along the Atlantic Coast are of miniature white farmhouses and tiny sheep dotting the distant hills like a stage setting. It is an image of Ireland that people dream about. The gracious dining room glows with warmth. The cuisine is well nigh perfect. To stay at Ernan Park is to live a little.”

Hotel recipes in Gillian’s book include Stuffed Aubergine, Baked John Dory with Fennel Sauce and Strawberry Cheesecake with Irish Whiskey. Sounds like the components of a great three course dinner! An accompanying sketch by the Dublin based late architect Jeremy Williams shows the interior of the bay window with its coffered semi dome. The guide states there were 11 bedrooms: bed and breakfast was priced from 28 to 39.50 Irish Punts. Five course dinner, 17.50 Punts. The proprietors were Brian and Carmel O’Dowd and the hotel was open from Easter to the end of October each year. The hotel closed in 2010 and the building and island returned to use as a private residence and demesne.

St Ernan’s Blues is the intriguingly named 2016 novel principally set on the island. It is part of a mystery series by Magherafelt County Derry born London based Paul Charles featuring Inspector Starrett. “A lone building on a small island off Ireland’s Donegal coast, St Ernan’s is politely known as a ‘retirement home’ for priests. The exiled residents are guilty of such serious offences as entrepreneurship, criticising the Church, or getting too friendly with the flock. But things take a turn when Father Matthew McKaye is found dead in the kitchen. Has one of these isolated outcasts committed murder?” Although never used to house errant priests, the clergy connection is historically accurate albeit relating to ‘the other sort’ to use a colloquialism.

“Situated right at the mouth of the River Eske in Donegal Bay, Donegal Town or Fort of the Foreigners, was the town that gave its name to the county,” explains Paul. He describes how tricky it is to find St Ernan’s Island despite its position close to the town, before eulogising on the local natural beauty. “The thing about autumnal mornings in Donegal is that the sun, as it lights up every corner of the rich tapestry of fields; hills; mountains; trees; rugged hedges; blue heavenly skies; faint white clouds and all creatures great and small, does tend to show off our Creator’s magic in all its spiritual glory.” And on wintry mornings as well.

An entry in Ireland’s Blue Book of Charming Country Houses and Restaurants, 1996, states: “Quietly situated on a wooded tidal island, connected to the mainland by a causeway, St Ernan’s offers the perfect respite from the hectic pace of everyday life. There is a unique warmth and sense of serenity at St Ernan’s. It recaptures the charm of the past – quietude in a relaxing friendly atmosphere. The house, built in 1826 by John Hamilton, a nephew of the Duke of Wellington, has 12 bedrooms, each with a private bath or shower, telephone and television. Most have stunning views of the sea and countryside. The dining room is one of country elegance where the cuisine is based on fresh local produce. From this perfectly situated house the countryside may be explored. There are several excellent golf courses nearby. Horse riding, fishing and bicycle hire are also available locally. St Ernan’s offers the perfect escape from the pressures of modern life to the finest traditions of Irish country house hospitality.” As well as recording an additional bedroom, the Blue Book includes increased rates. Bed and breakfast ranged from 55 to 52 Punts. Dinner was 26 Punts.

The house is as deep as it’s wide: the north, east and south fronts are arranged around a west facing courtyard. Until recently it was painted pink, except for the window surround quoins and verandah columns which were picked out in white. An early 20th century photograph shows the ground floor either painted a dark colour or unrendered. The current pale cream colour scheme works well, changing tone as often as the unpredictable Donegal weather. The two storey east front is the most visible elevation from the mainland. A full width slimly columned verandah stretches across the whole of the ground floor and beyond, terminating in angled walls providing further shelter. The three middle bays of both floors have typical Georgian sashes. The outer bays of the ground floor have three sided chamfered projections: the righthand one has typical Georgian sashes; the lefthand one has very narrow sashed openings. This narrowing is the only element of asymmetry on the otherwise perfectly balanced elevation. The outer bays of the first floor have paired sash windows divided by a mullion.

In contrast to the late Georgian or Regency appearance of the east front, the two storey plus attic south front looks more Victorian. Gabled projections with frilly bargeboards stand tall on either side of an asymmetrical two bay setback. The lefthand projection has two paned sash windows; the righthand projection has quoined corners and Georgian sash windows to the first floor and attic above a large Doric pilastered and corniced bowed extension with five two paned windows. A conservatory projects from the central setback under two paired sash windows divided by mullions. The two storey six bay with attic and visible basement north front is plainer and looks the most Georgian due to a proliferation of multipaned sash windows, except for the two storey extension with its larger pane sash windows. It has just one gable to the left of the slate pitched roof. The west front comprises the courtyard with irregular gabled late 19th century extensions.

Rubblestone walls line the 190 metre long causeway linking the island to the small peninsula of Muckros. The 3.4 hectare roughly oval shaped island, now densely wooded, stretches to just over 300 metres at its widest point. At the far end of Muckros, close to the main road between Donegal and Ballyshannon, stands the gatelodge to St Ernan’s House. Kimmitt Dean (mostly) admires it in Gatelodges of Ulster, 1994, “Circa 1845. A pretty little lodge delightfully situated defending the entrance to a ‘furlong of causeway built by his grateful tenantry’ for John Hamilton, to save him from Atlantic tides on his approach to a retreat which he built in 1825. He had become disenchanted with Brown Hall which he had inherited on his father’s death in 1811 [which contradicts George Seaver’s account of John being orphaned age seven]. A one and a half two up two down Picturesque cottage with ornamental serrated bargeboard to gables. One elevation aligned obtusely with the entrance gates, a single storey canted bay window looks on. In uncoursed square masonry now painted over, a flat roofed rear return and entrance hall recently added are hardly compatible.” The gatelodge is closest in style to the south front of the big house. County Donegal: wild. Donegal Town: wild night out. St Ernan’s: wildness tamed.

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Country Houses Design

Beyond Drumquin + Castlederg Tyrone

Those Nameless

There’s a sense of forgottenness. Time doesn’t stand still; it’s in reverse. The hands of the universal clock are turning backwards. Tock tick. Morning mist lies heavy over the bogland as the distant fiery sun slowly rises just beyond the blurred horizon. A drive across the borderlands of Counties Tyrone and Donegal offers up three historic places infused with nostalgia. Live, work, die. First, a cottage with a red tin roof, a red front door and green window surrounds next to an outbuilding with a green tin roof and red doors. Neither twee nor spoiled. Second, a string of monochromatic farm buildings excelling at form following function. Three road facing barns in descending size right to left, like a structural version of a Russian Matryoshka nesting doll. Third, crumbling stone remains and a scattering of tombstones inherently part of the landscape: nature completed, not violated. A mutual enrichment. The grassy graveyard is a metre or more higher than the trench like path to the open arch of the fragmented church, giving a feeling of being buried. Lived, worked, died.

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Architects Architecture Country Houses People

Parkanaur Castlecaulfield Tyrone + Thomas Duff

Tudor Revival Survival

Forest parks on Irish demesnes often have a vital missing component: the country house. All too many were mindlessly demolished in the mid 20th century. Pomeroy House and Seskinore House both in County Tyrone are sadly typical examples. In those two cases all that remain are the stables and a footprint of the house just about legible from an aerial view. Parkanaur is a remarkable exception: the entire house with its rambling wings and outbuildings is intact and in use. Just to add to the country estate feel, white fallow deer descended from a pair gifted by Queen Elizabeth I in 1597 to her niece at Mallow Castle in County Cork roam an enclosure overlooked by the house.

In 1771, an Anglo Irish gentleman Ynyr Burges bought the Parkanaur Estate from the Caulfield family. John Henry Burges, a cousin of John Henry’s daughter Lady Poulet, leased the estate and built a triple gabled hunting lodge about 1804. The entrance door was to the left of the present one. A south wing was added in 1821 when the house became the family seat. John Henry’s son John Yner received an inheritance from Lady Poulet in 1838 enabling him to buy the freehold of the estate the following year.

John Yner commissioned the architect Thomas Duff to design a large extension which was completed at a cost of £3,000 in 1848. The original house has windows with mullions and Georgian astragals; the later addition has mullioned windows with leaded lights. The two principal fronts, at a perpendicular angle to one another, back onto courtyards surrounded by substantial outbuildings included a coach house and tower. The rear elevation of the largest courtyard building with its Georgian sash windows is three storeyed due to the sloping land.

The completed Parkanaur is a handsome Tudor Revival house. Thomas Duff was a serious architect. His oeuvre includes the Catholic Cathedrals of St Patrick’s Armagh, St Patrick’s Dundalk and St Patrick and St Colman’s Newry. Narrow Water Castle outside Newry, equally belonging to the revivification of the Tudor Style, is also by his hand. He partnered for a short time with the equally talented Belfast architect Thomas Jackson. The Newry based architect is credited with designing the first Presbyterian portico in Ulster at Fisherwick Place Church in Belfast.

As a Catholic, Thomas Duff was an unusual choice for Protestant commissions and clients. John Yner and his wife Lady Caroline also made improvements to the demesne, planting thousands of trees each year. The Burges enjoyed a sociable lifestyle revolving around entertaining and visiting other Anglo Irish families. Castle Leslie in County Monaghan, Glenarm Castle in County Antrim and Killymoon Castle in County Tyrone – neighbours in aristocratic terms – were all on their social circuit.

The 1830s were halcyon years for the Burges family. But the following decade, three of their four sons died leaving just two daughters. Lady Caroline sold the carriage horses to fund charitable efforts after the Great Famine struck in 1845. Her husband recorded, “My lady instituted a kitchen with every apparatus and convenience for feeding the labourers, all of whom were fed daily … they got the best beef, potatoes and pudding which sustained them while many were starving … with all this I could not keep my people and no less than 300 went off to America having disposed of their land to try their fortune in a strange country.”

The Burges were benevolent landlords. Lady Caroline’s brother, William Clements 3rd Earl of Leitrim, was not: he was murdered for his callousness in 1878. During World War II, Parkanaur was used as a base for the Western Command, housing 50 military personnel. In 1955, the Burges family sold the house and 25 hectares for £12,000 to Reverend Gerry and Mary Eakin. Their son Stanley had difficulty walking and would later use a wheelchair. The Eakins decided to set up an occupational training college in the house to support disabled students. Parkanaur now celebrates seven decades of educational use and residential care supporting a wide range of needs. It is currently occupied by the Thomas Doran Parkanaur Trust. The demesne continues to be a much loved forest park.

St Michael’s Church of Ireland Church Castlcaulfield is two kilometres from Parkanaur as the falcon files. At the summit of the sloping cemetery stands a Tuscan temple with a gloriously oversized pediment all faced in buff pink (long greyed) Dungannon sandstone. It is the Burges burial vault. There are two tombstones unmissably close to the church entrance porch. One marks the burial place of Frederica Florence Elizabeth (1873 to 1957) Burges of Quintin Castle, Portaferry, County Down (it’s now a nursing home). She was the widow of Ynyr Richard Patrick Burges who was buried in Lawrenny, Pembrokeshire, in 1905. Her tombstone is also over the grave of their daughter Margaret Elizabeth (1908 to 1958). Next to Frederica’s tombstone is the resting place of Major Ynyr Alfred Burges’ (1900 to 1983). The last of the Burges family to own Parkanaur, he was High Sheriff of Counties Armagh and Tyrone. His wife Christine (1908 to 1982) shares the same burial plot.

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Architects Architecture Country Houses Design Developers People Town Houses

Charlton House Charlton London +

Red Not Dead

The mid 20th century County Down housebuilder Joseph Gribben always advocated building in brick, especially the rustic textured variety, and recommended constructing tall chimneys that would allow smoke to blow above the roof ridge. He would appreciate Charlton in south London. High on a hill, the principal buildings circling the summit are all red brick and there are plenty of tall chimneys. Bridget Cherry and Nicholas Pevsner record in their Guide to South London Buildings (1983), “The old centre of the meeting of Charlton Road and Charlton Church Lane is small, and still has some village character, although it is surrounded by later 19th century and 20th century housing on all sides. Apart from the 17th century Church of St Luke, and Charlton House and its outbuildings, no buildings visibly of before the 19th century remain in the village centre although the attractively stuccoed Bugle Horn Inn is of late 17th century origin.”

Ah Charlton House, a miraculous half a millennium survival. It’s even still positioned in a parkland setting. Bridget and Nicholas describe its origins: “Built by Sir Adam Newton, tutor to Henry Prince of Wales, circa 1607 to 1612. Later owners were Sir William Ducie, who made repairs in 1659, Sir William Langhorne, East India merchant, after 1680, and in the 19th century the Maryon-Wilson family, for whom Norman Shaw restored the house and made minor additions in 1877 to 1878. Acquired by the Borough in 1925. Charlton House is the only Jacobean mansion of the first order remaining in the precincts of London. The plan is E shaped with four symmetrical bay windows at the ends of the four wings and two towers in the centres of the two wings, framing the building when seen from the west of east. The building is of three storeys above capacious cellars, built of red brick with pierced open tracery. The towers have ogee roofs. It is of plain and angular, spacious but not at all luxurious, with the exception of the west frontispiece, that is, the door surround and the bay window above which suddenly breaks out into the most exuberant and undisciplined ornament – the work of a mason probably who possessed a copy of Wendel Dietterlin’s Architectura of 1593 and a rare case of close imitation.”

And then the writing duo go inside, “The most remarkable feature of the interior is the position of the Hall, just as revolutionary (though not unique in Jacobean architecture) as Inigo Jones’s at the Queen’s House. it is two storeyed, placed at right angles to the front and back, and runs right across the building. Above it on the second floor in the Saloon reached by an elaborately carved staircase, quadrangular with a square open well and the flights of stairs supported by posts which between ground floor and first floor form palm branches in cases. The sloping pilaster balusters progress through the three orders from ground floor to top landing. The plasterwork is Victorian. The saloon has an original plaster ceiling with pendants and a marble fireplace with restrained architectural ornament to the overmantel above finely carved figures of Venus and Vulcan. This is very much in the manner of Nicholas Stone. In the bay window is circa 17th century heraldic glass with the Ducie arms. on the same floor the north wing is taken up entirely by the long gallery, also with a good plaster ceiling. The original panelling has gone except for pilasters by the windows. In these, more heraldic glass with the Ducie arms. The gallery is reached from the saloon by the white drawing room whose stone fireplace with two tiers of caryatids, three dimensional strapwork, and relief scenes makes the marble one in the saloon appear very classical.”

Finally, back to the great outdoors again, “Of outbuildings the stable to the south are contemporaneous with the house, now arranged on two sides of a quadrangle. Remanagements [sic] under Sir William Langhorne are easily discernible. In front of the entrance on the lawn a solitary gateway, plastered, with Corinthian columns and an 18th century cresting. To the northwest of the house, a handsome summerhouse of circa 1630, brick, square, with Tuscan pilasters, and a concave roof. There is no documentary confirmation of the traditional attribution to Inigo Jones, but the complete absence of Jacobean frills at evidently such an early date makes it quite justifiable. Nicholas Stone would also be a possibility.” The ski slope roofed Grade I summerhouse or lodge, a pepper pot pavilion, is now a public convenience (or rather inconvenience – it’s shut).

Armed with the wealth of knowledge Pevsner Guides are so adept at summarising, a decade ago Aimée Felton, Associate at leading architectural conservation practice Donald Insall Associates, led an Irish Georgian Society tour of Charlton House. Here are the highlights. Over to Aimee, “The lodge is widely attributed to Inigo Jones. Of course it is – he did most of Greenwich! Someone once attributed the lodge to him and it stuck.” She is undertaking a conditions survey as part of a long term masterplan of the house and estate. “A variety of historic fabric is remaining. Some in my opinion was later heavily edited by the various occupants. And heavily rebuilt following bomb damage.” This is most obvious in the north wing where the original imperial red brick and whitish grey stone have been patched up with metric red brick and yellow stone. These mid 20th century repairs included placing the sundial upside down.

“It’s the best Jacobean house in London and is of pivotal importance to its era,” Aimée declares. “It displays a full modern appreciation of flow and sequence of rooms. An H plan was so innovative. There are lots of Jacobean Houses of E plan and E without a tail, but not so many H. Charlton is first in its class: to walk in through the front door and see its garden beyond. The axis though the building is what makes it so special. The Kitchen was always on the north side of Jacobean houses to cool dairy produce and meat, with bedrooms above as heat rises. But this house is laid out to take in the views to the north towards the river and to the west to the King in Greenwich. This is a really bold statement and the only Jacobean house with a north facing gallery.”

The first floor Long Gallery stretches the full length of the north elevation. Like much of the house, the Long Gallery is an architectural puzzle. Aimée highlights, “The floor and ceiling are original but the panelling isn’t. Charlton has some of the best fireplaces of the Jacobean era. The Long Gallery marble and slate one is odd but exquisite.” No architect is recorded. “There is incredibly scarce information both on the Jacobean era and Charlton. You’ll notice I say ‘attributed to’ and ‘we suspect that …’ a lot!” At least there’s a keystone dated 1607 on the main block and one dated 1877 on the wing and the staircase is engraved 1612.

Sir Spencer Maryon-Wilson sold the house to Greenwich Council and auctioned the contents in 1920. The house has been used ever since by various community bodies. A public library is now in the former ground floor Dining Room and Chapel and a café occupies the Hall. Donald Insall Associates are tasked with applying a holistic approach to its fabric and future use or uses. Furnishing rooms in the original period like a National Trust house is not an option. “There simply isn’t enough Jacobean furniture,” she says. “Even the V and A wouldn’t have enough and any pieces it has are so special they’re kept in glass cases.”

There’s plenty of pictorial evidence of how the rooms were furnished in the latter Maryon-Wilson years. Aimée smiles, “If you can’t find a decent photo of a country house look in Country Life because someone is always bragging about their home!” Charlton House is no exception. Monochromatic images of the early 1900s show the interior chockablock with traditional brown furniture and taxidermy and tapestries. This eclecticism is reflected in later plasterwork. She points out the ceiling in the Prince Henry Room which isn’t original. “The cornice is beyond wrong! As offensive as the ceiling is, it’s a nice ceiling, but one that’s just not for this house. Just because it’s not right though doesn’t mean it shouldn’t be preserved to show history. Everyone has their oddities and we just move on.” Much more in keeping with the original architecture is the 1877 extension to the south, now a wedding venue. Unsurprising as Bridget and Nicholas record it was designed by that great historically aware Arts and Crafts architect Norman Shaw. Aimée sums up the extension as, “Jacobean with a Shaw twist.”

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Architects Architecture Country Houses Design People

Francis Johnston + Townley Hall Tullyallen Louth

Thrill of the Chaste

An immaculate concept, a gorgeous late Georgian flowering. Townley Hall deep in the Boyne Valley came about in the closing years of the 18th century. Its architect Francis Johnston designed Rokeby Hall, 17 kilometres north of Townley Hall, a decade earlier in 1786. The former is a smaller version of the latter. Both are of a spare patrician architecture so appealing to the modern eye. Plain planes. Townley is an achingly svelte seven bay by seven bay 27.5 metre square block.

The architect conceals and reveals scale and massing as the viewer moves round the outside. This is a four storey house masquerading on three sides as a two storey building. Attic dormers lurk behind a solid parapet in a similar arrangement to the contemporaneous Castle Coole, County Fermanagh, except there the dormers peep through balustraded gaps in the parapet. Townley is Castle Coole taken to next level Grecian severity in a case of keeping up with the Lowry-Corrys. Francis’ brother Richard was the original architect for Castle Coole: he was replaced by the celebrity architect James Wyatt. There is another Fermanagh link: the client Blayney Townley Balfour married Lady Florence Cole in 1794. She was from Florence Court, a neighbouring estate of James Wyatt’s masterpiece.

Townley Hall is an essay in structural rationalism, a formal stone box grounded by rolling countryside. Recent semiformal planting softens the grey to green juxtaposition. Unencumbered by unnecessary architectural frippery, Francis employs taut lines. He let’s go – just a little – with the kitchen wing. A collection of curves carefully enriches the wing’s fenestration: recessed arches, roundheaded windows, segmental arched tripartite mezzanine windows, a bow window. It’s not just an august purity auguring minimalism that defines Townley. Workmanship and materiality are also top notch. The facing ashlar was quarried from nearby Sheephouse. It has lower absorbency than most limestone. Mortar is barely visible between the masonry. Metal rods reinforce the slimmest of glazing bars. A mid storey string cornice and Greek Doric eaves cornice relieve the expanse of wall.

A tetrastyle Doric portico leads into the entrance hall which has twin Doric chimneypieces – more restrained versions that those in Castle Coole. That’s a theme developing in this article. Rectangular plasterwork wall panels resemble vast empty picture frames. A coffered ceiling adds to the room’s crisp angularity. Straight ahead – silent drum roll – is the rotunda, a nine metre diameter glass domed cylinder forming the core of the house. A swagger of genius. A swoop of plasterwork swags and skulls. Irish design at its most suave. All the plasterwork whether naturalistic or geometric is of shallow relief. There are two coats of paint on the rotunda walls: the current 1920s creamy beige over the original stone grey. The ribbed dome casts a spidery web of shadows which leisurely climbs the staircase as the afternoon progresses.

An interlinking ceiling rose pattern in the drawing room is similar to the overhead plasterwork of the dining room in Castle Coole. Like all the main rooms around the rotunda it is 7.3 metres deep. This layout allows all the main rooms to have natural light while the rotunda is top lit. Rokeby Hall is similarly laid out and equally bright. It is an efficient arrangement removing the need for corridors. Andrea Palladio’s 1560s Villa Rotunda outside Vicenza is an obvious source of inspiration although the dome of Townley is hidden behind the attic floor rather than being on full display. Surprisingly Francis’ drawings illustrate the final rationality of layout and simplicity of design was achieved through an evolutionary process. For example, the more elaborate Ionic order (which James Wyatt used for the portico of Castle Coole) was replaced with the plainer Greek Doric for the portico. Francis was clearly a master of the Golden Ratio.

A set of early 1900s photographs courtesy of the Irish Architectural Archive includes views of the interior. Furnishings were suitably classical and restrained. Chinese wallpaper in the south facing drawing room is a rare flush of extravagance. The boudoir and dressing room over the drawing room overlook the parkland. They are one of five family suites clustered around the first floor rotunda landing. On the floor above, the view from the servants’ dormitories is the backside of the parapet below a sliver of sky. The only unobstructed attic windows are in the west facing barrack room which looks down into the courtyard: guards needed to be on watch.

In 1957 the family sold the house and 350 hectare estate to Trinity College Dublin for use as an agricultural school. Since 1977, Townley and its immediate 60 hectares has been a residential study centre owned by the School of Philosophy and Economic Science. A single level extension (visible as one storey on the north front) was recently completed over the kitchen wing plus a double height access link to the original house. The two main conservation schools of thought are to either design an extension that blends in with the host building or one that contrasts with it. The current Irish notion strongly favours the latter. Oh the architectural profession’s fear of that ultimate sin: pastiche! That’s despite every other modern glass building being derived from Philip Johnson’s Glass House in Connecticut and its 70 year old ilk. RKD Architects of Newmarket Dublin secured planning permission for an extension that consisted of similar massing to that executed except the courtyard facing elevation was a dormered mansard. RKD proposed Georgian style sash windows throughout.

Treasa Langford of Dúchas Heritage Service commented on the application, “The finishing of the north wall is not specified; however, the construction is specified as exposed uncoursed rubblestone, which would appear to be inappropriate on a cut stone house such as Townley Hall. We would recommend a ruled and lined nap lime plaster finish without use of cement.” Her opinion is based on the view of sympathetically blending old and new. It could be counterargued that rubblestone would be suitably subservient to the cut stone of the grand main block, emphasising the ancillary nature of the wing.

A decade later, MVK Architects of Fitzwilliam Square Dublin’s design also secured planning permission and this time it was built out. Their approach is very different. The design concept is to add an identifiably contemporary layer to this historic property. Subordination and deference are common themes of both practices’ thinking. MVK’s has neither a mansard nor Georgian style glazing bars but the window openings are classically positioned and proportioned.

Michael Kavanagh of MVK Architects relates, “The choice of material was based on aesthetic as well as practical considerations. Natural zinc has a light grey colour – from historic photographs it appears the slate on the original roof had a similar light grey colour. The material is not intended to match the limestone colour but rather be complementary to it. Zinc is natural, hardwearing, long lasting and difficult to puncture. These characteristics make it ideal for long term weatherproofed cladding. It is stiffer than lead or copper and consequently allows for the crispness of detailing which is intended throughout.” This metal envelope is fixed on plywood decking across battens to form a ventilation zone. The zinc is fitted in strips of varying widths using a staggered but repeating rhythm which reflects the use of differently sized limestone blocks on the main house exterior.

The best example in Ireland of a Modernist addition to a neoclassical building is of course the Ulster Museum Belfast extension. Edinburgh architect James Cumming Wynnes won the 1913 competition for the original museum. The exterior displays fairly ornate Beaux Arts decoration. In 1964, London architect Francis Pym won a competition to extend the museum. His highly inventive design is at once contextual and disruptive. He draws out the neoclassical detailing such as cornices and string courses which then collide with abstract cubic concrete blocks expressing the layout of the galleries inside. Francis’ dramatic work is unsurpassed in its genre. Surprisingly, he worked in church conservation and his only other recorded built form is a gazebo somewhere in England.

This is an article of superlatives. The O’Connell Wing of Abbey Leix in County Laois is a study in how to do it right. Architect John O’Connell’s masterful 1990s reimagining of an unfinished 1860s wing by Thomas Henry Wyatt (an Anglo Irish distant next generation relation of James) is a lesson in improving what’s there already. Client Sir David Davies explains, “This extension was never built as planned but the remains of the Wyatt scheme – a low unadorned wall to the right of the main house was a disfiguring distraction, an issue O’Connell resolved by puncturing the walls with windows and adding architectural ornament.” John O’Connell was also responsible for the late 20th century restoration of Castle Coole. This is an article of connections.

Sympathetic contextual additions; visibly contemporary extensions; dramatic architectural interventions; subtly remodelled wings – they all have their place and supporters. English Poet Laureate and architectural historian Sir John Betjeman once stated, “I have seen many Irish houses, but I know none at once so dignified, so restrained and so original as Townley Hall in County Louth.” More than 230 years after it was finished, such is the strength of Francis Johnson’s design, capturing the spirit of a future age, it still possesses dignity, restraint and originality.

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Architecture Developers Luxury People Restaurants

The Inner Temple Garden + The Middle Temple Garden + The Garden Room Restaurant Temple London

Paper Buildings Real Flowers

Sophie Tatzkow, Deputy Head Gardener of The Inner Temple Garden shares the evolution of the high border: “Over recent years, it has been undergoing a transformation moving away from the resource intensive management that heavily relied on annual bulbs in spring and various seasonal display changes throughout the year. The adaptation of the border is based upon detailed observation and evaluation of environmental conditions to blend beauty with sustainable cultivation.”

The Garden is only open to the public for a few hours each weekday. She elaborates, “One of the keys to this evolution is layered biodiverse planting where reliable trees and shrubs form the backbone, underplanted with resilient perennials, grasses and self seeding plants. This structure reduces the need for replanting which lessens soil disturbance. Undisturbed soils consist of a network of billions of beneficial organisms such as bacteria, fungi and earthworms which together create a wonderful environment for plant health and wildlife.”

“The High Border is now a living breathing ecosystem that thrives on resourcefulness,” Sophie relates. “The long season pollinator friendly planting with repeating patterns creates an ever changing yet harmonious space where nature and cultivation coexist. The greatest satisfaction I take away is the cultivation of a border by blending beauty with ecological responsibility. As custodians of this Garden it is important to champion a conscious approach of reducing waste, conserving resources and creating beautiful biodiverse and wildlife friendly ecosystems.”

For Sophie’s Victorian counterpart, the smog of London proved challenging and so Samuel Brome favoured hardy plants. In his 1861 bestseller Culture of the Chrysanthemum as Practised in The Temple Gardens, he recommends balsam, calceolaria, scarlet geraniums, snowdrops and tulips. He explains that shrubs do not fare well in pollution while some varieties of dwarf roses, being close to the ground, are less affected by smoke. The Plane Tree is one of his recommendations as it sheds bark each spring and “by doing, it gets rid of the soot, which sticks to other trees like varnish, and which there is no getting off”. Plane Tree allergy sufferers of the 21st century would come to regret his arboricultural allegiance.

The Middle Temple Garden is the smaller of the two green spaces. Tudor Hall dominates its northern side. The Garden Room restaurant spills onto a terrace on its eastern side. This area was once part of the River Thames. In the 1530s the land south of the Temple was drained and reclaimed to create more space for the expanding Societies. The earliest record of landscaping of The Middle Temple Garden is a 1615 “Gardener’s bill for the new knott”. At this time the level of the ground was raised and a vogueish geometric knot garden created filled with scented plants like rosemary and sweet briar.

The Temples Conservation Area includes one Scheduled Monument, eight Grade I Listings, 12 Grade II Listings and five Grade II* Listings in Inner Temple; seven Grade I Listings, four Grade II* Listings and nine Grade II Listings in Middle Temple; and two Grade II Listings on Victoria Embankment. Unsurprisingly this forms one of the greatest concentrations of historic protected buildings and structures in London.

In Roman times, the western route out of the City approximately followed what is now Fleet Street and the Strand on the higher ground north of the marshy margin of the Thames. The slope from Fleet Street to the Strand and downwards to the Thames remains a prominent feature. The religious Order of the Knights Templar was established in Holborn in the 1160s before relocating to the Temples. In 1185, Temple Church was consecrated. The Templars were suppressed by Parliament in the early 14th century and Parliament voted to handover the property to the Order of St John. At that time, parts of the Estate were already leased to law students.

After Henry VIII’s Dissolution the property went to the Crown which granted freehold to the Benchers of the Temple in 1608. The Inns of Court would become fashionable places of education during the Reformation. The other two Inns of Court are Gray’s Inn and Lincoln’s Inn, both in Holborn. They are the four professional associations for barristers in London. These historic collegiate institutions provide education, training and social networking for emerging and established barristers. Membership is mandatory for anyone wishing to practise as a barrister. There is no visible physical distinction between Inner and Middle Temple Inns except many buildings in the former display the symbol of Pegasus and in the latter, Agnus Dei.

A few buildings survived the Great Fire of 1666. Tudor and Tudoresque architecture intermingles with Georgian. The construction of the Embankment in the 19th century extended The Inner Temple and Middle Temple Gardens. Buildings damaged in the World Wars were sympathetically rebuilt in the mid 20th century. The Gardens, only open during restricted hours or when let for functions, are very much part of hidden London.

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Architects Architecture Art Country Houses People

The Hamiltons + Hamwood House Dunboyne Meath

Taking Refuge in the Shelter of Your Wings

Stephen Odlum sums up the origins of Hamwood House in his book Eva, Letitia and The Hamilton Sisters: Class, Gender and Art (2021): “The Hamiltons originally came from Scotland in the early 17th century and initially settled in the north of Ireland. The first of these settlers was Alexander Hamilton (1690 to 1768) who was MP for Killyleagh in County Down. In a tradition followed by many subsequent generations of the Hamilton family, he became a land agent. He seems to have been particularly successful in this role and left his five sons land worth £50,000. His son Charles Hamilton (1737 to 1818) moved south to Dublin where he first traded as a wine merchant. It appears that this business flourished, as he decided to build a house reflecting his new status. He chose to build in an area to the east of the village of Dunboyne in County Meath close to the border with County Dublin and only about 15 miles from the centre of Dublin.”

The writer details, “The Hamilton sisters remained attached to the old Ascendancy social monies and traditions. Letitia, Eva and Connie, who developed a gardening consultancy business, and Ethel, up to her death in 1924, pooled their resources to live in refined but declining style in a series of large, rambling houses in the Castleknock and Lucan areas of County Dublin from 1920 onwards. Manners mattered more than money – dinner was a formal event which the ladies dressed for and were summoned by a gong. In a world which would become increasingly dominated by Catholic dogma, Letitia and Eva would have had a liberty that was not often open to their Catholic sisterhood. Those who did choose to pursue modern feminist ideas were seen as being ‘West Brit’ or pro British. Indeed, Catholic women who were educated and middle class were more likely to join forces with their Protestant counterparts to achieve social and political recognition, as seen in the suffragette movement in the early part of the 20th century.”

It’s an unseasonably cool and overcast spring morning to meet Charles Hamilton VII for a private tour of his splendid home. The four bay two storey over basement under attic entrance front or perhaps it is the garden front (to be explained later) has curved wings extending out like crab claws grabbing pebbles – the end octagonal pavilions. “The house was built by Charles I in 1777 for £2,500,” introduces his descendant. “Ham comes from Hamilton and Wood comes from his wife Elizabeth’s maiden name Chetwood. Charles II’s wife Caroline found the house draughty – the original entrance on the side or west elevation opened straight into the reception rooms – so that’s how the current arrangement came about. A corridor now separates the entrance door from the living quarters. The driveway used to access what is now the garden elevation – really the house is back to front. In very hot dry summers the ghost of flowerbeds appears opposite the current entrance front.”

A set of early 1900s photographs from the Irish Architectural Archive includes a picture of the garden. And sure enough it is filled with flowerbeds. Other pictures show the house with window shutters and the house with the shadowy ghost of window shutters. Previous generations pose on the lawn and in the library.

Charles adds, “Caroline insisted on many more trees being planted to help create shelter for the strong winds. Remember that when she arrived at Hamwood in the early 1800s it was a cold and bleak situation and very exposed being 300 feet above sea level. That may not sound particularly high but in relatively flat Leinster there was nothing between the house and the east coast! Caroline and her husband were greatly involved in the interior design of the house too, adding furnishings, artwork and ornaments.”

“The architect is unknown,” he explains, “although a surveyor Joseph O’Brien is mentioned in family papers. During the 1798 Rebellion the agent for nearby Carton was hanged. So my ancestor Charles I took over as agent and my family continued in the role from 1800 to 1950. This supplemented the income they made of the 165 acres at Hamwood. The family have always been very active in the community. They set up agricultural societies to create work and during the famine they ran a soup kitchen. My father Charles Gerald was the last agent of Carton. The Duke of Leinster sold it to Lord Brocket and then eventually it was turned into a hotel. We will walk round to the other side of the house, down the long garden which has unbroken views across the countryside. Unbroken thanks to a nine foot wide haha.”

“The 1911 Census records a butler, three yard men, coachman turned chauffeur and five indoor servants. I remember as a child we still had seven glasshouses filled full of peaches and nectarines,” says Charles. Upon entering the house through the ocean blue coloured door, visitors are greeted by a Canadian moose head in the octagonal hall. The corridor ahead feels early Victorian: it is lined with tongue and groove wooden panelling and encaustic tile floored. It leads into an elegantly furnished double drawing room spanning the full four bay entrance front. The pale sea green blue walls are filled with paintings and drawings.

There are two corresponding reception rooms on the garden front. The two bay dining room is painted deep shell pink. Two similar oil paintings hang side by side: Mrs Charles Hamilton by Sir William Orpen (the subject dressed in back with white frills writing a letter) and Portrait of Louisa Mrs Charles Hamilton by Eva Hamilton (the subject in the same outfit reading a book). “Eva and Letitia both trained at the Dublin Metropolitan School of Art,” Charles confirms, “where the prominent Irish artist William Orpen taught. Eva was especially influenced by Orpen’s style.”

Bright and airy even on a dull day, bedrooms fill most of the first floor. A roof lantern lit corridor extends off the staircase landing. “The two storey library wing was built by my great uncle,” notes Charles. “It disrupts the symmetry of the garden elevation.” The two pane Victorian glazing has been replaced on the principal front with 12 panes on the main block and intricate gothic topped panes on the arched windows of the wings. A painting of another country house hangs in the staircase hall. He states, “That was our family estate at Ahakista in West Cork. The television presenter Graham Norton lives there now. We used to have a townhouse in Dublin too – 40 Dominick Street Lower.” This four storey three bay terraced house, built in 1760, is now a language school. Hamwood House still stands proud as the family seat of the Hamiltons.

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New Town + Calton Hill Edinburgh

Ministerial Positions

Alexander John Youngson opens his seminal work The Making of Classical Edinburgh 1750 to 1840 with: “Europe is full of beautiful cities. Edinburgh is one of the most beautiful of all.” That was 59 years ago and still rings true, devoid of overstatement. “The New Town even now retains its late 18th and early 19th century public buildings, terraces, crescents, squares, palace fronts, churches and gardens almost as they were planned. They were all designed over 150 years ago, and the tour ensemble is without parallel in scale, uniformity of general style, and status of preservation.” Unlike Georgian Dublin which is so much given over to office use, most of the 12,000 properties in Georgian Edinburgh are still residential. The Robert Adam designed 6 Charlotte Street is the official residence of the Scottish First Minister, an address rather more impressive in architecture and setting than the British Prime Minister’s official residence in London of 10 Downing Street. Corner ground floor units are more likely to be commercial use such as Cairngorm Coffee Shop on the corner of Melville Street and Randolph Place or The Magnum Wine Bar at the junction of Albany Street and Dublin Street.

While the medieval Old Town of Edinburgh is surprisingly tall – many buildings are eight or more storeys – the New Town is mostly three or four visible storeys. There are lots of later dormer additions. Horizontality of neoclassical architecture versus high gradients of topography. Glimpses can be captured of the Firth of Forth at intervals – nature is never far away in Scotland. Even the built form often resembles rocky outcrops. Retained details hint at the social hierarchy and habits of times past. Rough stone for the servants’ basement; smooth stone for the masters’ piano nobile and accommodation above. Trumpet shaped openings in the cast iron railings would have once been used by ‘link boys’ to snuff out the flamed torches they carried to illuminate residents’ journeys home after dark. Very high double kerbs permitted easy access to carriages from raised pavements.

New Town is all the more remarkable as it was designed by a 27 year old. James Craig, the only surviving offspring of a family of six children, won the Edinburgh Town Council competition in 1766 to design the New Town. It would be a 15 year long project. “The principle reason for Craig’s success is the excellent use of the site,” Alexander reckons. “The two outer streets – Princes Street and Queen Street – have houses on one side only, and these look outwards across the street, in the one case over the low ground towards the Castle and High Street, in the other down the slope towards the Firth of Forth and the distant hills of Fife. The feeling of spaciousness combined with order is no doubt enhanced by the good proportions of the streets and buildings.”

Archibald Elliot’s Waterloo Place of 1819 provides a Greek Revival link between the earlier New Town and later Calton Hill. Regent Terrace is one of several rows of grand houses around the rise of Calton Hill, the city’s answer to the Parthenon in Athens. William Stark’s layout made use of natural contours and tree planting. It’s the ultimate architectural set piece – pure theatre in grey stone to celebrate Vice Admiral Horatio Nelson’s victory at Trafalgar. Old Royal High School is almost Brutalist in its powerful massing. Thomas Hamilton’s 1820s Greek Revival tour de forcefulness is currently vacant. The façade looking down over the city (in theory only: it is almost windowless on this elevation) is Palladian in form with a Doric temple main block flanked by columned colonnades terminated by wings. Plans are afoot by the Royal High School Preservation Trust for Richard Murphy Architects to convert the building into a concert venue and Tom Stuart-Smith to create a new garden. The Political Martyrs Monument rises 27 metres high above Old Calton Burial Ground. Designed by Thomas Hamilton and erected in 1844, this obelisk is dedicated to five freedom fighters: Joseph Gerrald, Maurice Margarot, Thomas Muir, Thomas Palmer and William Skirving.

The Nelson Monument completed in 1816 to the design of Robert Burn is another tall slender structure: it is in the shape of a telescope pointing skyward. Alexander considers it to be “a somewhat Gothic design of dubious architectural merit”. The 1831 Burns Monument stands opposite the Royal High School, teetering on the hillside edge. Thomas Hamilton also designed this circular Corinthian temple standing on a high polygonal plinth. It was built in honour of Scotland’s national bard Robert Burns who had died 35 years previously. Another circular Corinthian temple is uphill from the Burns Monument. Designed by William Playfair, the 1831 Dugald Stewart Monument is dedicated to the Scottish philosopher. The City Observatory predates the other buildings and monuments of Calton Hill. This 1776 mock castle was designed by James Craig proving he was as good an architect as he was town planner.

The only remaining part of what was once Scotland’s largest gaol which stood to the south of Nelson Monument is the 1815 to 1817 Governor’s House designed by Archibald Elliot. Alexander clearly was not a fan of design that wandered too far from the classical fold: “Castellated and battlemented, it is rather absurd; yet it adds piquancy and variety to the scene.” Most modern viewers would surely consider it an architectural highlight of the Hill. Lawyer Henry Cockburn described Edinburgh in the opening decades of the 19th century as “the second city in the Empire.” Two centuries later, Edinburgh is the second city of the Kingdom.

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The Secret Garden + The Witchery by the Castle Edinburgh

Know Your Stuff

March 2016. Getting stuffed. Maundy Thursday, quail’s eggs on a watercress stuffing nest at Mayfair regular Hush. Resurrection Sunday, fried duck eggs at Holborn favourite The Delaunay. And so a procession of lunisolar led lunches, moveable feasts, begins. An extended Easter Triduum. When a man is tired of London, there’s always Edinburgh. Easter Wednesday, squared hen’s eggs on board Virgin. York, Durham, Newcastle, Berwick-upon-Tweed … everywhere looks better when viewed from the 1st Class carriage. Rows of distant gambrel roofs punctuated by chamfered dormers announce to the visually aware the proximity of the Border.

“Oh yes I stayed in The Witchery by the Castle years ago,” a brave journalist whispered to us during the recent Making Africa press briefing in the Guggenheim Bilbao. Admittedly an unlikely moment for such a muted conversation. It was undoubtedly a memorable stay. “I woke up in the middle of the night in the most frightful sweat! It was like the bed was on fire! I was boiling alive!” She got an uninvited roasting, so to speak. The next day at breakfast the journalist voiced her concern to a waitress. “That’ll be the witches,” came the nonchalant reply. “They used to burn them at the stake on Castlehill right outside.” Presumably it wasn’t the effects of a wee dram nightcap.

Our Easter Thursday lunch in the restaurant turns out to be slightly less steamy but still hot stuff. Dr Samuel Johnson and his biographer James Boswell used to eat here. Well if it’s good enough for Sam and Jamie, both made of stern stuff … The schlep up the Royal 1.6 Kilometres past winding wynds and claustrophobic closes to the foot of Castle Rock is so worth it. We’ve arrived. Physically and metaphorically. Bewitchingly charming certainly; hauntingly beautiful definitely; ghoul free hopefully. Think Hunderby (Julia Davis’s pricelessly hysterical period comedy) without Dorothy. Or Northanger Abbey’s Catherine goes to town.

Owner James Thomson, Scotland’s best (known) hotelier and restaurateur, is evidently a follower of the Donatella Versace school of thought: “Less isn’t more. Less is just less.” An eclectic dose of ecclesiastical remnants, Gothic salvage and Jacobean antiques is healthily apropos for this 16th century building. Candlesticks galore flicker flattering light across The Secret Garden, a space even with its panelled walls and trio of fanlighted French doors and timber beamed ceiling would still induce the envy of Frances Hodgson Burnett.

The interior may flurry with wild abandon but thankfully the service and place setting don’t. Our Milanese waiter makes sure of the former. Tradition takes care of the latter. Linen tablecloths, phew. China plates (slates are for roofs), double phew. Unheated pudding (always a dish best served cold), triple phew. After a bubbly reception, the feast unfolds. Palate seducing grilled sardines followed by lemon sole with brown shrimp butter preceding chocolate orange marquise with espresso jelly raise spirits further. The huggermugger harum scarum of a prowlish ghoulish night owlish postprandial prance on the mansard tiles of Edinburgh’s Auld Toun awaits. The only way is down (hill).

November 2025. Still not sweating the small stuff. Random Friday, sôle poêlée aux graines de moutard in Mayfair’s La Petite Maison next to music producer Mark Ronson en famille. Remembrance Friday, baked Ragstone goat’s cheese gnocchi up the BT Tower in Soho. And so a procession of dinners towards the waxing crescent moon, moveable feasts, begins. An extended Advent. When a man isn’t tired of London but needs a weekend change of scenery, there’s always Edinburgh. Feast of Christ the King of the Universe Eve, double devilled hen’s egg on board LNER. Newark-on-Trent, Doncaster, Northallerton, Darlington … everywhere looks better when viewed from the 1st Class carriage. The snowcapped Cleveland Hills announce to the observant the proximity of the North York Moors.

Nine years ago the three course Table d’Hôte Lunch Menu at The Witchery was priced at £35. Today, we’re after the two course Light Lunch Menu, £34.50. Packed agenda: so little time, so many galleries. After a bubbly reception (déjà vu; déjà ivre; plus Bourgone Blanc Domaine Leflaive Burgundy 2017 – a good year), the feast unfolds. Appetite satisfying basket of bread rolls with smoked butter accompanying celeriac velouté then salmon, cod and smoked haddock fish pie. We’re stuffed. But as the great Scottish aristo actress Tilda Swindon (first seen in three dimensions dining at L’Ambroisie Paris; last seen in two dimensions in her ex partner John Byrne’s painting in the Edinburgh National Portrait Gallery) would say in her hushed dulcet tone, “This lunch is delicious!”

Our driver Eleftherios Galouzidis pulls up outside on Castlehill. The only way is downhill. We’re just in time for the brilliant recital of Moonlight Sonata by Candlelight in St Gile’s Cathedral. British impresario Ashley Fripp’s fingers dance across the grand piano. He opens with Johannes Brahms’ Intermezzo in A Major. “Next I will play a pair of Chopin Nocturnes – tone poems,” he states. “E Flat Major which was influenced by the Irish composer John Field followed by C Sharp Minor. The latter was fortunately discovered by one of Chopin’s students after he died.” There’s wild applause for Sergei Rachmanioff’s Prelude in D Sharp Minor, the Moscow Waltz. “And now for the one you’ve all been waiting for!” Ashley takes a bow after the dramatic third movement of Ludwig van Beethoven’s Moonlight Sonata climaxes to its conclusion. Nothing quite completes an evening of culture like prawn toast and chilli tofu at Jimmy’s Express Chinese Restaurant on South Bridge.

At last week’s St Martin in the Fields London Informal Eucharist the Right Reverend Oliva Graham preached, “Holy omnipresence is not a casual knowing. It is impartial and unconditional. We are called to live fully and love faithfully.” We’ll soon discover Chessel’s Court, a rare survival of 18th century tenements hidden behind Canongate on the slope from The Witchery by the Castle. The mansion blocks, to use a befitting but more southern term, were assertively restored in the 1960s. A heart shaped ivy enlivens the ground floor of one of the blocks. Always living more fully, loving more faithfully.

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Festive Afternoon Tea + The Caledonian Hotel Edinburgh

Sword Fight

Fun and games at The Cally. Afternoon tea has never been this exciting. Or dangerous. Table for two vegetarians in The Court – a covered over former courtyard of this gargantuan temple of Edwardian hospitality interior designed by Fox Linton. Drawings by John More Dick Peddie and George Washington Browne, the original architects of the red sandstone building, line the bathroom walls in place of the usual cartoons. There are seasonal twists and tales to this festive version of the 7th Duchess of Bedford’s favourite meal from a Santa Claus’ belt to wish list letters all in icing.

The full works. Lapsang Souchong smoked Chinese Tea, Fujian Province. Curried chickpeas, mango chutney, carrot slaw, spinach. Nut roast sausage roll, spiced apple. Sweet potato fritter, roasted red cabbage, maple and mustard. Vegan cheese, pear and candied pecan quiche. Vegan chicken, chipotle mayo, pickled cucumber, avo. Vegan club sandwich. Plain and double chocolate and orange scones, three fruit marmalade. Chestnuts Roasting: chestnut, blackcurrant and whisky, pâté de fruit. Holly Jolly: winter spiced butterscotch, treacle travel cake. It’s Cold Outside: coffee, hazelnut financier and dark chocolate tart. Jingle Bell Rock: tonka bean, green apple confit, Speculoos cheesecake. Merry and Bright: yuzu ganache, black sesame, praline macaron. Mistletoe: kirsch mousse, sour cherry compôte, flourless chocolate sponge.

So far so genteel. Then the restaurant manager strides over to our table and declares, “You look game! Fancy taking part in our art of sabrage?” To mere mortals that’s slicing off the top of a chilled bottle of Laurent-Perrier La Cuvée Brut with a full length ceremonial sword. “We’re one of the very few establishments left in Scotland licenced to do this,” she comfortingly adds. Holding the bottle at a 35 degree angle as instructed: sliding the sword down the bottle towards the top first time round; sliding it a second time; then sliding it down a final time and keeping going. Hey presto … slice! The cork and glass rim ricochet across the floor. “Perfect!” admires the restaurant manager turned martial art instructor. A swashbuckingly useful addition to the arsenal of party tricks. Celebratory glasses of Laurent-Perrier are poured.

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Castle Stewart Papers + Irish Country Houses + Glebe Houses

Plantation Shudders

The Public Records Office Northern Ireland is an Aladdin’s Cave for those of an architectural heritage bent. It’s in a coolly contemporary commercial building conveniently close to Titanic Hotel in Belfast’s Laganside. Super helpful staff deliver bundles of archive material to designated desks. The Castle Stewart Papers form a significant collection. They comprise about 6,000 documents dating from 1587 to 1960 mainly relating to the County Tyrone estates of the Earls Castle Stuart, their genealogy, their military service, and the building and rebuilding of their houses. The Stewarts were originally a Scottish clan: the surname is derived from the role of steward.

An orthographic issue needs explaining. The family name of the Earls Castle Stewart is Stuart. Their other titles are the Barony of Castle Stewart, the Viscountcy of Castle Stewart and the Viscountcy of Stuart. Confused yet? The petition which the 1st Earl Castle Stewart, then Andrew Thomas Stuart, addressed to the Irish House of Lords in 1768 in substantiation of his claim to the Barony of Castle Stewart sheds light on family history from 1619:

“James I, by his letter of 1619 to the Lord Deputy and Chancellor of Ireland, authorised them to create Andrew Stewart, Lord Stewart, Baron of Castlestewart in the county of Tyrone, to hold the said honour to him and the heirs male of his body. Andrew, the 1st Lord, left issue Andrew, John, and Robert. No Parliament having sat from the year 1615 to the year 1634, Andrew, the 1st Lord, never voted in Parliament, but constantly enjoyed the title. He was succeeded by Sir Andrew, his eldest son and heir, and many entries in the Journals of the Lords in the year 1634 prove his enjoyment of the dignity, in consequence of letters patent issued agreeable to the letter of King James.”

“This Lord died in or about the year 1639, leaving issue Andrew, Robert and Josias, and was succeeded by Andrew, his eldest son and heir. This Lord married one of the daughters of Sir Arthur Blundell, by whom he had issue one child only, a daughter named Mary, who married Henry Howard, afterwards 5th Earl of Suffolk, and this lady carried away almost the whole family estate. Andrew, the 3rd Lord, died without issue male, and Robert his brother being dead without issue, he was succeeded in the honour by Josias, his youngest brother. Josias died in or about the year 1662, without issue, and was succeeded in the honour by John, his uncle.”

“John, the 5th Lord Castlestewart, died without issue in 1685, and after his death, the descendants of Lieutenant Colonel Robert Stewart were the rightful successors to the barony of Castlestewart, [which remained dormant and unclaimed until 1774]. Lieutenant Colonel Robert was the brother of John, the 5th Lord, and consequently a son of the 1st Lord. Robert Stewart of Irry, died 1686, son and heir to Colonel Robert, married Ann Moore, daughter of William Moore of Garvey in the County of Tyrone. To him succeeded Andrew Stewart [1672-1715], his eldest son and heir, then an infant, and to him Robert Stewart [1700-1742], whose son and heir the petitioner is.” Andrew Thomas Stuart was successful in his claim to the Barony of Castle Stewart in 1774.

Amongst the many papers is an exclusive find. Opening the green covered book Photographs of Armagh and Tyrone Scenery by John McGie reveals faded photographs mainly of country houses. It’s undated; the archivists estimate the book to date from between 1868 and 1874. Dame Rosalind Savill, la grande Directrice of The Wallace Collection in London, once commented how she disliked the phrase “hidden gems” but that’s what springs to mind looking at these photographs and, in some cases, lost gems. Stewart seats featured include Ballygawley Park and Stuart Hall. Other country houses photographed also had Plantation of Ulster connections such as Aughentain Castle, Augher Castle, Cecil Lodge, Roxborough Castle and Tynan Abbey.

The Irish Architectural Archive on Merrion Square has another great wealth of material. In contrast to the modern spaces of the Public Records Office Northern Ireland, drawings and documents are laid out in an 18th century double reception room with elaborate plasterwork ceilings. In among various folders are a coloured illustration of Reverend Beresford’s proposed glebe house, a photograph of Moynalty Glebe House and a photograph of Lismullen House, reproduced here for non commercial educational purposes.

Ballygawley Park is a landmark ruin on the Belfast to Omagh A5 road. The formal façade with its Ionic columned breakfront is a romantic distraction to drivers motoring up the hill from Ballygawley roundabout. Remnants of the entrance pillars, railings and gatelodge continue to crumble year on year. The severely elegant neo Grecian mansion was built in the 1820s to the design of John Hargrave. The photograph is of the side elevation which overlooked a sunken garden complete with pond. The Stewarts never returned to the house when it was seemingly accidentally burnt in the 1920s. A not uneventful decade for Irish country houses.

Stuart Hall was the vast country house built on the outskirts of Stewartstown by the abovementioned Andrew Thomas Stuart no doubt to celebrate his social rise from Viscount to Earl. A two storey dropping to three storey Georgian block was attached to a Plantation tower. In Victorian times the building was dressed up with a castellated parapet added to the Georgian block and mullioned windows inserted in the tower. There are two photographs of the house in the book: one of the mainly two storey entrance front and one of the mostly three storey side elevation. Stuart Hall was an architectural victim of The Troubles: it was destroyed by the IRA in 1972.

Usually spelt with an E at the end, the photograph of Aughentain Castle (as it is labelled) shows the house in all its Italianate glory. Why settle for one campanile when you can have two? Haystacks stand between trees on the sloping lawn. This sprawling mansion was demolished in 1955 by then owner Colonel John Hamilton-Stubber who replaced it with a Continental classical style house. The current Aughentaine Castle, while smaller than its predecessor, is still a substantial and stylish building.

Augher Castle on the outskirts of the village of the same name and, like Ballygawley Park, is a showstopper for motorists, visible beyond a lake. Unlike Ballygawley Park, it is in excellent condition. The photograph shows the two storey entrance front range which is attached to a three storey lakeside toy keep. Dating from the 17th century, the castle is now mainly a Victorian rebuild. The people posing next to the exterior are probably fin du siècle dernier owners John and Elizabeth Carmichael-Ferrall and their son.

Many of the Big Houses of Ireland were plain boxy houses. Elizabeth Bowen’s family home in County Cork is a famous example. Cecil Manor, a neighbouring estate to Augher Castle, is another house with strong perpendiculars. Parapet free, hipped roofs rest on a distinctive dentilled cornice. It was designed by the architect William Farrell who had a flourishing country house and church designing practice in the first half of the 19th century. The photograph shows the magnificent backdrop of Knockmany Mountain. It was demolished in the 1930s.

Last but very much not least is the incredibly dotty Roxborough Castle, a Château Chambord by the Bann. The scale is as barmy as the design. Located outside Moy in County Armagh, it was the seat of the Earls of Charlemont. The original 18th century house can be seen in the Georgian glazed recessed portion of the entrance front. Architects William Murray then William Barre transmogrified the house into an enormous hotel like building with chunky four storey towers topped by steeple gradient roofs. The IRA burned Roxborough Castle in 1922, not a good year or indeed decade when it comes to architectural conservation.

Tynan Abbey was situated 18 kilometres south of Roxborough Castle. It was a large Gothic country house belonging to the Stronge family. Church like architecture included a spire rising over one end of the long garden front. The photograph shows a formal terrace dotted with yew trees – which have long been associated with graveyards. In one of the most infamous cases of The Troubles, Sir Norman Stronge and his son James were shot dead in their library by the IRA in 1981 and the house set ablaze. Tynan Abbey stood as a ruin until 1998 when it was demolished in its entirety. The site is now a featureless field devoid of architectural marvels.

The last image in John McGie’s book Photographs of Armagh and Tyrone Scenery is a view of a lake. An archivist has scribbled on the side “Camlough?” In the foreground are two well dressed gentlemen getting ready to row a small boat. In the background, is a high gabled single storey with attic lodge. A porch projects towards the lake. Pure tranquillity. Camlough Lake is a popular tourist attraction, a picturesque narrow strip of water 2.7 kilometres long and only less than half a kilometre at its widest point.

The Church of Ireland Board of First Fruits funded a glebe house at Fenagh, County Leitrim, in 1829. This two storey over raised basement stone building is of a type that pops up all over Ireland in the ultimate years of the Georgian period. The elevational drawing shows a mid storey landing roundheaded window: the executed arrangement regularises it into a ground floor window and first floor window matching the rest of the rectangular openings on the rear elevation. Fenagh Glebe House is three bays wide; these ecclesiastical dwellings are almost always three or four bays wide. Reverend George de la Poer Beresford, to give him his full name, was a relative of the owner of Curraghmore in County Waterford.

A mid 20th century photograph of Moynalty Glebe House in County Meath shows it to be in a poor state of repair. The entrance door of this well proportioned two storey over raised basement house is set in a chamfered bay window. Similar to Fenagh Glebe House, it has a tall grouped chimneystack, but is an earlier version of the Board of First Fruits clerical house model, dating from 1792. Moynalty Glebe House has been restored in recent years, the render painted a deep grey, and was sold in 2014 for €550,000. It cost £847 to build. The sale included the 275 square metre house, nine hectares of pasture, a gatelodge and a courtyard of stables and outbuildings.

Lismullen House (as it is spelt on the photograph labelling although more commonly Lismullin) in County Meath was the seat of the Dillon family. Presumably it is the Dillons who are playing archery in the faded photograph. The main block had a five bay three storey entrance front. Intriguingly, two storey Ionic pilasters just about visible on this front presumably once formed part of a tetrastyle portico. The IRA burnt Lismullen House along with its furniture and art in 1923. A Sir Joshua Reynolds painting was one of the few belongings the elderly Sir John Dillon and his family were able to rescue, cutting the canvas out of its frame. There is a metaphor lurking there about not seeing the whole picture.

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Straffan House + The K Club Straffan Kildare

Riveting Pivoting

On 28 February 1990 the Irish Directors of Christie’s (Desmond FitzGerald the last Knight of Glin of Glin Castle in County Limerick and Danny Kinahan the last in the line to own Castle Upton in Templepatrick County Antrim) held a sale of contents of Straffan House which had been acquired by The Kildare Hotel and Country Club led by Michael Smurfit. It opened with Lot 1 “A plated cruet frame containing seven bottles and stoppers”, £50 to £80. Punts not pounds. It closed with Lot 515 “A mahogany crossbanded and ebony lined two tier occasional table, the moulded rectangular top on turned and fluted supports, the base fitted with a drawer to one side. 25 inches wide and a similar occasional table 15.5 inches wide”, £80 to £210.

Standout pieces included Lot 154: “A carved giltwood wall glass of early George III design, the shaped rectangular mirror plate in a rockwork acanthus caved and pierced foliate frame, the pierced surmount carved with rockwork and C scrolls, the base carved with C scrolls and foliage. 19th century. 46 inches high by 23 inches wide.” £3,000 to £5,000. Also Lot 160: “A kingwood burr walnut and floral marquetry commode of Louis XV style, the rounded rectangular pink veined marble top above a frieze mounted with circular floral painted porcelain panels enclosed in gilt metal laurel frames with ribbon tied surmounts and fitted with a drawer above a panelled cupboard door and flanked on either side by a bowed cupboard drawer inlaid in a trellis either side by a bowed cupboard drawer inlaid in a trellis parquetry with fleur de lys and divided by cast brass acanthus, mounts on cast brass paw feet. 55 inches wide by 22 inches deep.” £1,500 to £2,500.Unexecuted plans by Dubliner Benjamin Hallam dated 1808 (copyright of the Irish Architectural Archive: reproduced here for non commercial educational purposes) illustrate proposed two storey pavilion like wings in a refined neoclassicism to the original three storey Straffan House. The house would burn down a few years later. Under new owner Hugh Barton, the current Straffan House was constructed in 1832 to the design of Frederick Darley, another Dublin based architect. Its design was apparently based on the Château de Louveciennes near Paris. It’s not quite Waddesdon Manor (a Loire Valley château transplanted to Aylesbury in Buckinghamshire) but Straffan House does have its Franglais moments. Vintage photographs show there were once a set of five unusually ornate chimneystacks symmetrically arranged across the roof of the main block. A storey height chimney masquerading as an obelisk marks the spot where the house meets the 18th century heavily quoined stable block. Box hedged formal gardens fill the courtyard of the stable block which was converted to guest suites.

Modern art in the auction included Lot 299 Gerald Dillon’s The Escape Artist, £5,000 to £8,000; Lot 294 Paul Henry’s Mullary Beach, £15,000 to £20,000; and two pieces by Louis de Brocquy: Lot 288 Lemon II, £3,000 to £5,000; and Lot 286 Reconstructed Head, £15,000 to £25,000. There were no fewer than 13 paintings by Brummie artist Edgar Hunt ranging from £5,000 to £8,000 up to £12,000 to £18,000. That’s a lot of ducks, donkeys, goats, cows and chickens. Lot 349 was a George II white marble chimneypiece after a design by Inigo Jones and William Kent, £50,000 to £80,000. It was formerly in the collection of the Earls of Gosford, Gosford Castle, County Armagh. A salvaged piece that was retained is an early 18th century timber doorcase, now in a curved corridor of one of the later blocks.

This year, the estate celebrates 1,475 of recorded history. 550: After the Anglo Normal invasion of Ireland, Strongbow grants Straffan to Maurice FitzGerald. 1500: The lands are forfeited by the De Penkiston family, who are implicated in a rebellion, and disposed of to the Gaydon family. 1600: Straffan is forfeited again and granted to Thomas Bewley. 1650: The Gaydon family are granted back the 280 hectares they originally owned and then sell up to Richard Talbot in 1697 for £700. 1720: Dublin banker Hugh Henry purchases the lands and builds the original Straffan House. 1831: Hugh Barton, who owns French vineyards, acquires the estate. He demolishes the Henrys’ burnt out home and builds a new house beside the 18th century carriage yard. 1850: An Italianate campanile is added to the house. 1937: The Bartons reduce the size of the house.1949 The Bartons sell up and it changes hands several times. 1988: The Smurfit Group purchases Straffan House and double it in size recycling a Francis Johnston granite porch from the ruinous Ballynegall House in County Westmeath to link both blocks together. 1991: The K Club opens.

In 2001 the original building was doubled in size with a new block designed by Henry John Lyons architects. It more or less replicates the appearance of Straffan House. A new north elevation entrance was created through the Francis Johnston Ionic portico: the original Ionic portico now leads into a lounge. Walls awash with white painted stucco walls. First floor and attic pedimented window surrounds repeated. And repeated. And repeated. Strung out stringcourses. The impact is powerful, only to be felt again 14 years later. The 2015 block by Henry John Lyons is even bigger, dropping another two storeys and having its very own campanile – a stylised version of the tallest component of Straffan House. It’s the hotel that never stops growing.

Just when you think the contiguousness has sprouted full growth along comes another extension. The latest proposals are by Michael Fetherston who bought The K Club in 2020. He commissioned JNP Architects to design an extension to replace the single storey swimming pool wing with a double height flat roofed function suite. Michael has restored the 1910 weir originally built to provide power for Straffan House. It has become the first weir powered resort in Ireland by harnessing hydropower from the River Liffey which runs through the 220 hectare estate.

We know The K Club well. Very well. Those stone steps flowing from the central bow window on the south front of Straffan House through grass banks onto a path past rose and lemon coloured flowerbeds to a fountain and finally the River Liffey are familiar terrain. Our first visit to The Byerley Turk Dining Room was on a windswept winter’s evening 30 years ago. The restaurant was named after a large painting measuring over three metres wide by two and a half metres high of a famous early 18th century thoroughbred racehorse. It is attributed to the English equestrian painter Thomas Spencer. Crimson flock wallpaper provided the perfect backdrop to the dark horse. Michael Smurfit sold the painting along with art by Jack Yeats in 2020. The Chinoiserie wallpaper in the drawing room painted by Naomi McBride has survived numerous refurbishments. Our subsequent writeup formed a double page spread in Ulster Architect November 1995 and our photograph of the south front graced the Christmas edition of the same magazine.