The Command House, right at the water’s edge and nestled below the tower of St Mary’s Church high on the hill behind, commands long distance views across the River Medway on the approach from Rochester to Chatham. Following a half a million pounds restoration by Stonegate Group, the largest pub company in the UK, it has flung open its eight raised panel triglyph frieze and modillion corniced fluted Doric pilastered door to customers. A bar and restaurant fill the piano nobile and spill out onto the garden stretching across to the river.
Built in the opening decades of the 18th century as The Ordnance Storekeeper’s House for Chatham Gun Wharf and later used as officers’ housing, The Command House is a fine example of the Queen Anne style. The symmetrical river facing façade is a parapeted two storeys over raised basement in height and five bays with single bay flanking lower wings in length. The red brick elevations have stone dressings.
But it is the side elevation overlooking the carpark which has the most interesting feature. An open lunette. It is set in the colossal chimneystack rising over the valley between the double piles of the roof. Sir John Vanbrugh was master of the lunette, void and chimneystack. He brings his sense of drama to all three in Kings Weston House, Bristol. The architect of The Command House is not recorded but clearly had a strong command of the classical architectural language.
This is a photographic record of French Lebanese architect Annabel Karim Kassar’s installation recreating part of the façade of the late 19th century Bayt K House, a traditional Ottoman era building in the historic quarter of Gemmayzeh, Beirut. While undergoing restoration in 2020 by her architectural practice AKK, Bayt K was damaged by the Beirut Port explosion. Sarkis Khoury, Director General of Antiquities in Lebanon’s Ministry of Culture, confirmed that at least 8,000 historic buildings were damaged in the explosion including Bayt K House and the Palais Sursock. The latter, also dating from the 19th century, is located in Achrafieh and is one of the country’s grandest residences. Disrupted but undeterred, the architect has worked with Beiruti craftspeople using traditional Lebanese materials both to restore Bayt K and to recreate the house’s triple arched façade and entrance divan as a showpiece.
Nathalie Chahine and Fadlallah Dagher explain in their 2021 publication Houses of Beirut 1860 to 1925, “A very typical element of the houses, as in houses of Bilad al-Sham more generally, was the lwan or liwan. This is a room opening onto the courtyard through a wide arch.” Annabel states, “I believe the human-centred approach to designing interior spaces found in traditional cultures still has much to teach the modern world.” Her designs combine a modernist vocabulary with the language of traditional Arab, Berber and Ottoman culture and craftmanship.
If a building is mentioned by the two scholars Nikolaus Pevsner and John Summerson, it’s worth visiting! “Eltham is very much a domestic house, not a grand palace, built in the clean air away from the plague and fire of the city,” he explains. “In the 1960s the cupola was removed – there may have been a rooftop terrace originally. In 1663 there were five dormers on each roof plane which can be seen in early drawings and as evidenced in the timberwork of the roof. These have been since reduced to two on each elevation. The formal gardens with fruit trees and the tapestries in the Great Chamber have all gone.”
Grinling Gibbons joined Hugh May’s team: his offset Great Stair is fully preserved. “In 1893 Eltham Lodge became a golf club,” finishes John. “But the ethos of a house in the country has been retained. May’s mantra was ‘Let one room be turned to perfection and the rest to convenience!’” The King’s Bedchamber and East India Library on the first floor overlook the entrance. The architect went for broke at Eltham Lodge with suites of rooms turned to perfection.
James Gibbs is a member of that exclusive club of architects whose surnames have become adjectives. Gibbsian, Corbusian, Miesian, Palladian. O’Connellian will come. The South London guide continues, “The enviable clubhouse of the golf course is the house by James Gibbs built in 1726 for the Duke of Argyll and Greenwich (the grandson of the Duchess of Lauderdale of Ham House). Nine bays, brick and stone dressings. Basement, main and upper storey. Slender segment-headed windows with aprons. Brick quoins, parapet. The main accent on the garden as well as the entrance side a giant portico of Corinthian columns with frieze and raised balustrade, projecting only slightly in front of the façade, so that the space behind the columns is actually a loggia. On the entrance side the effect has been spoiled by a tall extension forward of the portico. On the garden side a splendid open stair towards the entrance, starting in two flights parallel with the façade and then joining up into one. The plan is typically Palladian. The centre is a cube room which runs through from front to back portico. The other rooms open out from it, and on the upper floor have to be reached from the small staircase. The cube room is luxuriously decorated: giant coupled pilasters, coved ceiling, marble fireplace, doorways with very finely designed heads and pediment – Gibbs at his most baroque.”
“The garden front portico is in antis and so shallow it doesn’t rob the Cube Room of light and prospect,” explains John. As for the 10 metre Cube Room: “Everything is resolved. It’s a robust ensemble. James Gibbs’ workshops would have pulled all of this together and produced presentation drawings for the client. The stucco work is so emphatic. The subtle beading of the coupled Corinthian pilasters is very Mies van der Rohe in its attention to detailing!” Sudbrook Park has been the very grand clubhouse of Richmond Golf Club since the end of the 19th century.
Over to Oli, “We looked in Somerset, we looked in Norfolk, but it just felt like we had roots here in Deal and we knew the area. It’s so close to London too. Also Deal is just such a cool place. It’s thriving and this property is just unbelievably beautiful so that made our minds up for us. The garden is enclosed by incredible woodland so it feels very remote and peaceful. Updown Farmhouse is unusual but it’s going to be a lovely place to be in, eat and to stay.”
“Welcome to the Hôtel du Petit Moulin! We would like to thank you for your confidence and for choosing our hotel during your visit in Paris. Le Marais is full of history, wonderful shops, galleries, museums and restaurants. In fact, the building in which the hotel is set was originally the first Parisian bakery. This is where Victor Hugo would come to buy his baguette! Today, the original shop frontage remains, reminding guests of its former past as a ‘boulangerie’, protected under French Heritage. Make yourself at home, relax and enjoy a quiet drink at the honesty bar open from noon to midnight or head to the spa of our sister hotel, the Pavillon de la Reine, situated in Place des Vosges, just a 10 minute walk away from her and available to all our guests. Have a lovely stay with us.” Luc Guillo Lohan, The Manager.
Heaven’s in the detail and the Hôtel du Petit Moulin delivers from bookmarks and business cards to brass door keys and petite boxes â picorer. Highlights of the room service from Restaurant Chez Nenesse on nearby Rue de Saintonge include entrées: salade des queues de langoustines (Dublin Bay prawn salad); plats: fillets de bar aux fines herbes (sea bass fillet, sauce with fine herbs); and desserts: mousse et sorbet chocolat sauce pistache (chocolate mousse and sorbets with pistachio sauce).
Filling a pair of 17th century buildings which couldn’t be more pre Haussmann Parisian if they tried, the ground floor was once a bar and a street corner bakery. Victor Hugo’s house on Place des Vosges is just around the corner. As Monsieur Lohan notes, the former bakery still retains a hand painted glass shopfront. There are just 17 guest rooms. One bedroom on the rez-de-chaussée. Four on the premier étage. Four on the deuxième étage stacked in the same layout as below. Four stacked on the troisième étage. One on the étage intermédiaire. Three on the quatrième étage. The architecture is full of original quirks from fragments of timber structural beams to windows floating between floors. The interior is absolutely fabulous Christian Lacroix sweetie darling.The haut couture designer clearly had a lot of fun dreaming up this Louis XV on an acid trip décor. The colourful chaos of the montaged découpaged toile de jouy in the main rooms contrasts with the calm of the white marble bathrooms. Top floor Room 402 is the largest guest suite and angles into the street corner with the best views, taking in a sweep of chimneys rising above the buildings lining Rue de Poitou and Rue de Saintonge. The mirrored ceiling provides an altogether different view, not least of the shagpile carpet. “Early to bed, and you’ll wish you were dead. Bed before 11, nuts before seven,” shrieked Dorothy Parker in her short story for The Little Hours for The New Yorker, 1933.