Categories
Art Design Developers Hotels Luxury People Restaurants Town Houses

The Metropolitan Hotel + Nobu Restaurant Park Lane London

Still Cool Britannia

Park Lane is synonymous with worldly riches and fashionable life. Down its entire extent, from where it joins Oxford Street to the point at which it reaches Hamilton Place, great houses jostle each other in bewildering profusion on its eastern side, while on the west lies the Park with its mass of verdure, and, during the season, its kaleidoscopic ever shifting glow of brilliant colour.” Edwin Beresford Chancellor, The Private Palaces of London Past and Present, 1908

The Metropolitan Hotel and The Met Bar opened on Old Park Lane, which is parallel with Hamilton Place, just as Tony and Cherie Blair were entering No.10 Downing Street. Both Mets were an instant hit with celebrities. The bar closed in 2018; the hotel is still going strong. So is Nobu’s first European outpost on the first floor via its own discreet street entrance. The parent London Nobu has been joined by offspring restaurants and hotels in Portman Square and Shoreditch. There are 55 restaurants and 36 hotels in the group internationally now from Dallas to Dubai, San Diego to San Sebastián.

In 1987 Chef Nobu Matsuhisa opened his first restaurant in Beverly Hills. His Japanese Peruvian fusion food reflects his place of birth and place of training. Actor Robert de Niro soon joined him as business partner and together they embarked on world domination. The phrase “signature dish” might as well have been invented for Nobu as every other course is famous.

“I’ve got the best table in the house for you,” beckons the front of house at Nobu Park Lane. Always. The corner window table, the dining equivalent of the C suite. A personalised card with the traditional greeting “Irasshaimase” stands next to the crisply folded linen napkins. The direct view of Hyde Park is framed by the Four Seasons on the left and The Hilton on the right, that comforting proximity of five star luxury all around. The interior is a reminder that nobody ever did minimalism better than the Japanese. Park Lane is still synonymous with worldly riches and fashionable life.

Categories
Architecture Art Design Developers Town Houses

SABBATH PLUS ONE Cats + Neve Tzedek Tel Aviv

Angels Unaware

“Flowers appear on the earth; the season of singing has come, the cooing of doves is heard in our land.” Song of Songs 2:12

The boundary lines have fallen in very pleasant places. Really, it’s the ultimate urban oasis full of fluttering sparrows and darting swallows between distant oaks. Resident tycoons occupy swathes of this prized real estate. Between the many mansions flow bougainvillea festooned rose and vine laneways, riots of colour and love amidst herbage and verdure. Acacia and camphire and poinciana and weeping fig trees camouflage gaily painted architecture. “Pink and saffron mallows, and the yellow and white daisies, and the violet and snow of the drooping cyclamen, and the gold of the genista” visualises Henry Van Dyke in Out-of-Doors in the Holy Land (1908). Colette captures horticultural wonder in Chéri, (1920), “Walking along in the shade of the acacia trees, between trellised roses and huge clumps of rhododendrons in full blaze.” And again in Gigi (1944): “Such a beautiful garden … such a beautiful garden.” She romanticises in The Cat (1944), “Above the withered stump draped with climbing plants, a flight of bees over the ivy flowers gave out a solemn cymbal note, the idenitical note of so many summers.” In Save Me the Waltz (1932), Zelda Fitzgerald’s protagonist Alabama cries, “I love little trees, arborvitae and juniper.”

Neve Tzedek was established in 1887, predating the official founding of Tel Aviv by over two decades. “Tz is pronounced as one letter sounding a bit like an ‘S’,” clarifies our driver Yaron Reuveny. “Neve Tzedek is beside the famous Carmel Market which is really trendy with fast food bars. It’s really good to hang out there in the evenings. There’s a good vibe!” Neve Tzedek was the first Jewish quarter to be built outside Jaffa. Fragrant with the perfumed aroma of myrrh and aloes and cassia, coloured by the turquoise of jacaranda and tamarisk and wisteria, Neve Tzedek is for the rich and fabulous and their feline friends (coffee loving techno music mad Israelis set the world record for cats-to-humans ratio). This enclave simply oozes unforced charm: streets named desire. Marco Koskas’ character Juliette in Goodbye Paris, Shalom Tel Aviv (2020) immediately adopts a cat called Jean-Pierre upon settling in Tel Aviv. Henri Cole opines in Orphic Paris (2016), “Cats are cats, briefly put, and their world is the world of cats through and through.” Truman Capote (1948) noticed in Other Voices, Other Rooms that they have “tawny astonished eyes”. No doubt Gertrude Stein would add, “Cats are cats are cats.” Quite so. Cats: the exquisite link in the Great Chain of Being. Colette’s The Cat once more, “The zone of shadow … the zone of shadow.”

“‘In that day each of you will invite your neighbour to sit under your vine and fig tree,’ declares the Lord Almighty.” Zechariah 3:10

(Extract with alternative imagery from the bestseller SABBATH PLUS ONE Jerusalem and Tel Aviv).

Categories
Architects Architecture Country Houses People

Kings of Leinster + Borris House Carlow

The Lines of Beauty

Roger White writes in Country Life, 2011, “First time visitors to Irish country houses are often struck by two things in particular. One is the sheer quality of architecture and craftmanship, and the other is the idiosyncrasy of the families who have owned these houses. Borris House in County Carlow has both characteristics in spades. The idiosyncrasy tends to be associated with the Anglo Irish but it would not be strictly accurate to so describe the Kavanaghs of Borris, about whom there is nothing ‘Anglo’.”

Staggered up a hillside, an architectural beauty parade of picturesque cottages clinging to the gradient, a Georgian house doubling as a petrol filling station, a boutique hotel boasting a celebrated chef, and an improbably vast château like a granite mirage on the horizon, Borris in County Carlow is a cut above the average Irish village. With a County population of 50,000, one third that of the smallest London Boroughs, driving around Carlow is a breeze. It’s off the beaten track of the touristy east coast. Despite a chalkboard at the gates announcing a house tour, we’re the only people to turn up. Just us and the owner Morgan Kavanagh. There are no National Trust style timed entry queues round the curtilage.

While we are led round the house and adjoining chapel, outside something magical is happening. It’s the bewitching hour: late afternoon in an Irish winter. The windows of Borris House are ablaze – amber, cerulean, mauve, scarlet – in reflected glory as the sun sets behind the Blackstairs Mountains far away across the Barrow Valley. So what do we learn on our select tour? Rather a lot: Morgan proves to be an entertaining and well versed guide.

Key points of the tour include: Borris House is a mostly 1830s Richard and William Vitruvius Morrison confection. Neoclassical innards under a Tudoresque skin. In turn, the original Georgian box had swallowed up an older castle. Morrison masterpieces stretch the length of the country from Glenarm Castle in the north to Ballyfin in the midlands and Fota in the south. Glenarm Castle in County Antrim is the closest in looks.

Borris is the seat of the MacMorrough Kavanaghs, High Kings of Leinster. Their pedigree is traceable back to the dawn of Irish history. King Art Mór Mac Murchadha Caomhánach was a particularly feisty ancestor who reined for 42 years, reviving his family’s power and land in between warring with the English King Richard II. The estate was once 12,000 hectares before being broken up in 1907. On the current 260 hectare walled estate are Lebanon cedars, fern leaf beeches and Ireland’s tallest broadleaf tree. It’s a 44 metre high hybrid American poplar down by the River Barrow.

Morgan says, “A two storey wing with a walkway over the kitchen used to connect the main house to the estate chapel so that the family could enter straight into their first floor gallery seating. My grandmother demolished that wing. Anglican services are still held in the chapel every other Sunday.” Songstress Cecil Frances Alexander, forever extolling the combined merits of Christianity and country life, donated an organ (of the musical variety) to the chapel. Her son Cecil John Francis Alexander married Eva Kavanagh, daughter of a 19th century owner of Borris House, in 1882.

Most excitingly, in 1778, Eleanor Charlotte Butler, the sister-in-law of Thomas Kavanagh fled from Borris House where she was staying to elope with Sarah Ponsonby of Woodstock in Inistioge, County Kilkenny. Eleanor and Sarah escaped to East Britain and set up home together in Plas Newydd, Llangollen. They became well known as the ladies who did more than lunch together. Morgan recently discovered an 18th century letter in the library of Borris which refers to the pair as “Sapphos”.

Local historian Edmund Joyce carried out a study titled Borris House County Carlow and Elite Regency Patronage in 2013. Extracts include: “This study focuses on Borris House, the ancestral home of the MacMurrough Kavanagh family, situated beside the town of Borris in south County Carlow, Ireland. The house sits on a hillside facing southeast towards the County Wexford border. The Blackstairs Mountains, which terminate the prospect, form a boundary in that direction of unusual grandeur. During the 18th and 19th centuries, the MacDonough Kavanagh family were amongst the most powerful in the country with up to 30,000 acres of land in Counties Carlow, Kilkenny and Wexford.”

“In the early 19th century Borris House underwent a dramatic transformation and the house as it now stands is the result of this remodelling of the earlier classical house. The architectural historian Peter Pearson describes how ‘in the 1800s the MacMurrough Kavanaghs of Borris embarked on a lavish building programme that transformed their 18th century mansion into a Tudor Revival showpiece’. The changes were performed under the direction of Richard Morrison, the Cork born architect. The remodelled Borris House was the earliest recorded property in County Carlow to adopt the Gothic Revival style. Early Gothic Revival houses such as Slane Castle, County Meath (1785), are simply classical houses with gothic details.”

“The importance of Borris House as a Regency house designed by an Irish architect, furnished by Irish craftsmen and occupied by a landed family of Gaelic descent deserves a thorough study in order to draw out a deeper understanding of its meaning in the broader context of Regency design both at home and abroad. The scale of the building project at Borris House can be categorised as considerable by any comprehensive by any standard. The veneering of the house in the Gothic Revival style brought it up to date with fashionable contemporary design. In Ireland, a building draped in a gothic shroud provided a consciousness and awareness of defence together with a deep rooted long ancestral provenance.”

“Christine Casey in her essay The Regency Great House describes how Richard Morrison ‘created a series of starkly contrasting interiors’, stating that ‘Borris is clearly a house bristling with ideas, unresolved but full of vitality and interest’. This clearly underscores the importance of the house in the context of Irish Regency design. Casey sees Borris House as Richard Morrison’s Regency prototype that ‘whets the appetite for the Morrisons’ grandest and most mature country house, Ballyfin, County Laois’.” Richard Morrison’s son, although suffering from depression, would join him in the thriving architectural practice. Randal McDonnell, Lord Antrim, owner of Glenarm Castle, once remarked to us how Morrison junior, “Went by the rather wonderful name of Vitruvius.”

In 2022 Edmund Joyce gave a lecture on Borris to the Kilkenny Archaeological Society. He explained, “The house is missing a big chunk and that chunk is missing as a result of works that happened in the 1950s. So when you get an architect in the 1950s to give you advice they give you three options. First option to let Borris House and build a small house adjacent. Second, to demolish rear sections of Borris House and take down the top storey of the main house. Third, to demolish Borris House and build a small house adjacent, a four bedroom bungalow in the walled garden.”

The Kavanaghs’ architect was Dan O’Neill Flanaghan of Waterford City. Edmund pulled extracts out of his 1957 report: “Perhaps I will be forgiven if I say that Borris House is not an architectural gem … to completely remove the front portico I do not think the general appearance of the house would suffer by its removal … to invite tenders from demolition contractors, and the second to auction it room by room, or floor by floor, and employ one’s own contractor on the demolition.”

Fortunately any decisions on the future of the house and estate had to go through four trustees. Option two was chosen in part: demolish the long two storey subsidiary wing but this proved costly and bereft the house of its kitchen. The cupolas, the crowning glory of the four square turrets at each corner of the main block were removed at this time. Fortunately that’s as far as the demolition progressed. Edmund ended his lecture with, “The house was going forwards then it started going backwards now it’s going forwards again. A lot of restoration work is happening and the current generation is very interested in putting back what was there before. It’s nice to see that it’s gone full circle.” The recent lime rendering washed in apricot accentuates the best parapet in Ireland, even with the cuploas removed. Turning the circle comes at a price: it costs the Kavanaghs about €250,000 a year to maintain and run Borris House and its estate.

“The sun rises and the sun sets, and hurries back to where it rises.” Ecclesiastes 1:5

Categories
Architects Architecture Design Developers Fashion People Restaurants

Guy Hollaway Architects + The Gas Station Restaurant King’s Cross London

Pump Up the Jam

It was the petrol filling station with a shop where clubbers would call in for bottles of water on their way to Bagley’s rave when the back of King’s Cross was an urban desert. Then the team behind Bistrotheque, one of Hackney’s most popular restaurants, opened a pop up called Shrimpy’s at The Filling Station in July 2012. Behind architects Carmody Groarke’s undulating fibreglass screen, the station forecourt was transformed into an outdoor seating area and the former kiosk turned into a 50 cover Latin American seafood residence. The meanwhile use would become permanent; the temporary building would remain just that.

In the days before Small Plates, the menu was traditional in its order of Starters, Main Courses and Puddings, while modern in its ingredients. Typical courses were seabass ceviche, plantains (£8.50); monkfish, quinoa, almonds, courgettes (£19.00); and poached quince, crème fraîche, almonds (£6.00). Cocktails (£8.50 to £9.00) included Lavender Tea: gin, lavender, grapefruit, camomile tea. Pound signs were stripped off the menu in a futuristic nod to minimalism. Unusually for its time, Shrimpy’s was cashless. Another sign of things to come was the 12.5 percent service charge when 10 percent was the norm.

It was all terribly buzzy; we sat up at the bar next to the singer Bryan Ferry. We attended the Christmas tree press party a few months later in December 2012. Clearly full of the joys, after dashing from Ballymore’s Embassy Gardens launch party in Vauxhall, we reported, “Across town, we joined opera singer Camilla Kerslake and fashionistas Giles Deacon and Jonathan Saunders at King’s Cross Filling Station. The tenuous editorial link? Vauxhall. A Christmas tree made out of Vauxhall Amera car parts was unveiled. Moving parts mechanically grooved to a techno beat as fluorescent orange light and frosted air filled the forecourt. Lady Gaga’s erstwhile designer Gary Card dreamt up the tree. Mince pies, mulled wine and dancing kept us warm.”

Gin Works – a bar, restaurant and micro distillery for Kent winemaker Chapel Down – took Shrimpy’s place in 2017. Guy Hollaway Architects, the practice behind Rocksalt restaurant on the harbour front in Folkestone, designed a replacement two storey building with an industrial aesthetic. The entrance along Goods Way is set in a curved sweep of finned coloured glazing. The Regent Canal elevation is framed by the fragments of a cast iron Victorian gasworks. Cladding maintains the pop up appearance. After Gin Works closed, the owners of Camden Town Brewery and Mare Street Market in Hackney opened The Gas Station in the building in 2021. A wild garden designed by Richard Wilford, Head of Garden Design at Kew Royal Botanic Gardens, surrounds the beer garden overlooking the canal.

The buzziness is back. We’re sat at a marbleised top table for two on the ground floor of the two storey restaurant and bar. There are wallflowers (not us) climbing up the staircase walls. Sticking to savouries for sharing, Snacks are mushroom arancini, porcini mayo (£7.00) and whipped cod roe taramasalata, toasted flatbread (£7.00). Small Plates are mussels and clams on sourdough, garlic, lemon, samphire (£11.00) and blackened leeks, nori, leek aioli, warm hazelnut vinaigrette (£9.00). Our Large Plate is aubergine steak, smoked babaganoush, sourdough croutons, caponata, basil (£14.50). The vibe is high end pub grub. Cocktails are a speciality of the bar at The Gas Station. Monte Mule (£11.50) is Amaro Montenegro, Old Jamaica Ginger Beer and lime. “Gas” is Dublin slang for great fun. And The Gas Station is just that.

Categories
Architects Architecture Art Design Developers Hotels Luxury People Restaurants Town Houses

Boutique Hotel Club + Hotel Heritage Bruges

The Unfolding Star

Ann Plovie of Visit Bruges introduces us to the city, “The winter season represents cosiness and heartwarming moments with family and friends. Warm World Heritage City Bruges lends itself perfectly to this. Come and soak up the atmosphere in the historic setting of charming ‘reien’ (canals), monumental architecture and picturesque streets. Sip a fragrant coffee and enjoy a sharing platter. Discover some universal stories of care and empathy at the renovated Museum St John’s Hospital. The many almshouses also illustrate the care for the citizens of Bruges throughout the centuries.”

The poet Georges Rodenbach melodramatically explains in The Death Throes of Towns (1892) how during its Golden Age the city was once accessible by sea, “Here is how the drama unfolds. Once the town was linked to the sea by the Zwin, which via Damme sent a channel of deep water as far as Bruges, a royal river, where 1700 ships sent by Philip Augustus against the Flemish and English could easily manoeuvre … One day in 1473, however, the North Sea suddenly retreated and as a result the Zwin dried up, without them being able to dredge it clear or reestablish a flow of water; and henceforth, Bruges, now at some distance from that mighty breast of the ocean which had nourished her children, began to bleed dry and for four long centuries lay in the shadow of death.”

That silting would form a quilting, a protective layer, over the historic fabric, like the deliciously preserved Sandwich in Kent, “England’s prettiest town,” according to international tastemaker Charles Plante. The city in aspic would be rediscovered in the 20th century. Architectural historian Dr Roderick O’Donnell reveals, “It was important to the Romantic Catholic archaeological tourists and scholars, especially A W N Pugin, visiting in the 1830s, 1840s and 1850s.” Bruges plays a major role in Alan Hollinghurst’s novel The Folding Star (1994). He admires “the grand brick houses equally steeped in silence and discretion”, calling it a “beautiful little city”.

The house that is now the five star Hotel Heritage is positively recent by Bruges standards having been built in 1869 to the design of architect Louis Delacenserie. The earliest record of a house on this site does though date back to 1390. After a stint as a bank branch of Crédit Général Liégeois, it was converted into a luxury hotel. A new marble staircase and discreet lift were inserted for access to 18 en suite bedrooms on the first and second floors, and above. A top floor was added to provide four junior suites and an intimate roof terrace directly facing the Belfry, one of Bruges’s many landmarks.

As we exit our car we are greeted by name at the entrance porch. Our first floor bedroom has a balcony with horseshoe gaps in the stone balustrade overlooking Niklaas Desparsstraat (a relatively quiet street despite being a waffle’s throw from Grote Markt). Heavy bordered curtains, underbed lighting, underfloor bathroom heating, an iPad, a bowl of fruit and chocolates (this being Belgium), noon checkout … heaven’s in the detail in this European member of the Boutique Hotel Club.

Johan recalls, “In 1992, when we decided to buy and transform the building into Hotel Heritage, several factors contributed to our choice, primarily rooted in the historical significance and architectural charm of the property. The building itself carries a rich history, and we saw an opportunity to preserve and showcase its unique character. Many historic properties like ours often have a story to tell and can offer guests a sense of the past, creating a distinctive and memorable experience. We knew the neoclassical architecture and original details would add a touch of elegance and authenticity, making the hotel stand out. It’s located in the historic district near the cultural attractions.”

“We collaborated with interior designers to create a cohesive design that complements the historic building while providing modern amenities and comfort,” he adds. The first of the reception rooms, a sitting room off the entrance hall, is a cheerful upholstered avenue into another era, one of refinement, sophistication and elegance. Pictures of horses – Coronation, Cotherstone, Mameluke, Margrave, Our Nell, Plenipotentiary, Stockwell, Van Trump – hang on the floral wallpaper of the first dining room. The adjoining second dining room, also with tall windows overlooking Niklaas Desparsstraat, is rich and rightfully red (the hue that stimulates appetite and conversation). Full bodied crystal chandeliers softly illuminate the decorated painted ceilings. Two more clubby style sitting rooms are to the rear of the building, a chessboard and drinks trolley to hand.

Breakfast in the red dining room is both a buffet and table service affair, at once continental and full. It turns out to be one of the best hotel breakfasts we have ever had – and we get around. A vast chariot (trolley is much too humble a word) piled high with cold and hot delicacies dominates the floral dining room. On top of the sideboard are forests of fruit and two different types of cake each morning (apple and marmor today) and – this still being Belgium – three types of chocolate (dark, milk and white). After a Flanders cheeseboard with salmon, yoghurt, cereal, brioches, croissants, mushrooms and tomatoes it’s time for the waiter to up the ante. A spinach amuse bouche arrives followed by the hotel’s speciality poached egg on biscuit wafer. Strawberry and apple juice is in a carafe not a glass. When we lift up our china cups to drink coffee, a red butterfly is revealed on the saucers underneath (more heaven’s in the detail). Our waiter brings a chocolate mousse just in case we’re still hungry. Philippe Mallet Champagne starts the day in style.

“Begin with a visit to the Belfry of Bruges for panoramic views of the city,” Johan advises. We’re on the up. Maybe it’s the 7am Champagne but the two way spiral staircase in the 83 metre high building (equating to over 27 modern storeys) is a trial of balance and navigation. Still, the climb is worth it for the exhilarating view from the bell level gallery. At this height everything appears so homogeneously historic, revivifying Georges Rodenbach’s city of monuments amidst “the pervasive presence of the waters”.

Round a few corners from Hotel Heritage, Poortersloge is a contemporary art gallery serving as an incubator for nascent creative talent in Burghers’ Lodge which was built between 1395 and 1417. Inside, the brilliant white walls and ebon blackness of the ceilings match the monochromatic work of the 12 photographers work on display. The centrepiece of Kwart Voor Nacht (Quarter to Midnight) is a piece by the multidisciplinary Belgian artist Yves Gabriels. It’s a deconstructed biopsy: body parts and clothes fragments are arranged along a swing hanging in front of a hospital curtain. Yves suggests, “I am the surgeon in my anatomical theatre.” He creates skin using a symbiotic culture of bacteria and yeast. Bruges-la-Morte-Encore-Une-Fois. It’s not for those uneasy in dynamics below mezzoforte. The cadence of the city bells can be heard beyond the huge mullioned windows. In April, the well orchestrated Bruges Triennial will bring contemporary art and installations to the streets as well, hitting all the high notes.

Johan reminisces, “I appreciate the opportunity to reflect on the changes in Bruges since my upbringing in the city. Bruges has undergone a remarkable transformation, blending its rich historical heritage with a growing contemporary vibrancy. One noticeable change is the increasing global recognition and popularity of Bruges as a tourist destination. The city has gracefully embraced this influx, maintaining its charm while accommodating the diverse interests of visitors.”

He concludes, “The preservation efforts and restoration projects have been noteworthy, ensuring that the architectural gems and cultural treasures are meticulously maintained. The revitalisation of public spaces and historic buildings has added a renewed sense of vitality to the city. While change is inevitable, Bruges has admirably retained its enchanting atmosphere, and the community’s commitment to sustainability and cultural preservation has contributed to a city that continues to captivate locals and visitors alike. Overall, witnessing Bruges evolve has been a fascinating journey, and I’m excited to see how the city continues to balance its rich history with the demands of the present and future. I am happy to be able to contribute as a hotelier.” The city continues to unfold, revealing old and added layers of intricacy and delight. A new Golden Age is dawning.

Categories
Architecture Art Design Hotels Luxury People Restaurants Town Houses

Raoul De Koning + Le Mystique Restaurant Bruges

The Mystery Hidden for Long Ages Past

There’s gastro innovative and there’s Le Mystique. Hotel Heritage, a member of the prestigious Boutique Hotel Club, is one of the few privately owned establishments in Bruges to have its own restaurant. Johan Creytens, who along with his wife Isabelle owns and manages the hotel, remarks, “The emergence of diverse dining options reflects Bruges‘ ability to embrace change while celebrating its culinary traditions.” As night descends, the mystical turns magical at this restaurant right in the middle of medieval Bruges.

The principal dining room of Hotel Heritage opens to staying guests and visitors alike. Myriad mirrors reflect the soft lighting of the rich red interior. Chef Raoul De Koning breezes out of the frenetic kitchen across the floor on a busy Saturday night for a mid course welcome, “I studied and graduated at Hotelschool Ter Duinen where many of Belgium’s most famous chefs have attended. After my classical training I had the chance to specialise in world gastronomy. I love to combine the finest regional ingredients and Belgian cuisine with world flavours. I recently visited Qatar and have instilled some Middle Eastern influences into my cooking.”

Johan agrees, “Le Mystique restaurant opened its doors as part of Hotel Heritage in 2009. Since then, our culinary team has been dedicated to creating a dining experience that combines the rich flavours of Belgian and international cuisine with a touch of creativity and innovation. We aim to offer our guests not only a meal but a memorable and gastronomic journey in the heart of Bruges.

The set menu is adapted to pescatarian taste. A trio of amuse bouches – falafel, sweet potato and black bean – is promptly served. A happy note. Cauliflower moose is followed by three fish dishes: line caught seabass, squid, winter radish, labneh, squid ink sauce and bay leaf; red mullet, oyster, fennel, orange and Jerusalem artichoke; scallop, garum dressing, smoked herring, cauliflower, walnut, pastis. Bruges may no longer be maritime but the port of Zeebrugge is a mere 13 kilometres away. It’s like round the world in eight matching wines including Zull Weinviertel (Austrian), Villa Dria Jardin Secret (French), Borga (Italian) and Talento (Spanish). A very happy note. Beetroot pudding – poached, sorbet and meringue – rounds off the night in a blaze of rouge. A forever happy note. Le Mystique is at once glamorous and intimate, decadent and tasteful, in an increasingly byzantine world.

Categories
Architects Architecture Art Design Developers Hotels Restaurants Town Houses

Bruges +

Flemish Bonding

Soaring sky piercings; dormers that are gables that are dormers; cherry lip balm red cupolas; storey high blind windowed parapets; modern interpretations of medieval architectural forms … the Capital of West Flanders is full of eureka moments for the aesthetically alert of sagacious bent. Recharging the batteries is all about Champagne breakfast in Hotel Heritage, morning coffee in the Scottish Lounge, lunch in De Roopoorte and there’s only one place for dinner and that’s Le Mystique.

Categories
Architects Architecture Art Design Developers People

Concertgebouw Bruges + Amazings Lego

Hartelijk Bedankt

Johan Creytens, the owner of Hotel Heritage, one of the city’s most prestigious addresses, recommends, “It’s always worth checking the cultural calendar for concerts at the Concertgebouw.” And it’s always worth walking the Concertgebouw Circuit. This is a route up ramps inside the building, taking in visual art and sound installations, before climaxing on the roof terrace.

It’s a breath of modernity amidst medieval monuments under the unrelenting regard of the winter sun. On the edge of the historic centre en route to the railway station, Concertgebouw provides an invigorating visitor experience. Ghent architect duo Paul Robbrecht and Hilde Daem won the design competition in 1999 and just three years later the first performance was held in the 1,289 seater concert hall. Paul says, “We definitely didn’t want to build a plush building so we went for concrete to create both acoustics and silence. Massive, solid, heavy. We have no problem with keeping concrete visible: it doesn’t have to be camouflaged.” The concert hall and arts centre in stats: the exterior is clad with 68,000 terracotta tiles and each year 3,000 artists take part in 165 performances in front of 140,000 audience members.

Hilde explains, “The Concertgebouw lives at the intersection of many worlds: the city, the square, nature. Each of its elevations may appear to be different but all of them work together as a whole and share a common feature of transparency. Through their large and small windows, the outside world can look in.” Paul adds, “Our main source of inspiration was historic Bruges. It was a challenge to create a reclining body that had to coexist alongside those venerable city towers, especially the mighty brick tower of the Onze Lieve Vrouwekerk, or Church of Our Lady.”

Georges Rodenbach writes in his 1892 novel Bruges-la-Morte about the “misty labyrinth of the streets of Bruges”. The urban maze between the towers of Bruges is on full show from the roof terrace on top of Concertgebouw. Johan comments, “I was born here and sometimes still discover new buildings or alleys between the landmarks. A landmark isn’t a landmark unless it’s been recreated in Lego. And so Dirk Denoyelle, who runs a team of Lego artists in Flanders called Amazings, has designed a 185 piece Lego set of Concertgebouw. It joins the likes of Ashford Castle (County Mayo), Leadenhall Building (London) and Stadsmuseum (Ghent) in relishing this honour.

Categories
Architecture Design People

Bruges + Windmill

Bedankt

“Wishing you a visit filled with cultural wonders and thrilling adventures! May your travels be a tapestry of diverse experiences, weaving joy and unforgettable moments. Here’s to exploring new traditions, savouring local flavours and discovering the beauty of our world.” Johan and Isabelle Creytens and their team, Hotel Heritage, Boutique Hotel Club Member, Bruges

Categories
Architects Architecture Art Country Houses Design Developers Luxury People Town Houses

Adornes Estate + Jerusalem Chapel Bruges

Filled With All God’s Virtues

Far from the windswept and crowded Grote Markt (“far” being relative as this is petite Bruges: a 20 minute walk), on the edge of the medieval city is an estate in miniature, a little bit of peaceful Palestine, a secluded retreat where rich and poor lived, worked and worshipped cheek by jowl. Local historian Véronique Lambert waxes lyrical, “The domain is not just a museum. It is a remarkable cocktail of ancient structures, precious objects, fascinating stories and modern creations, all served with a strong dash of family tradition.” Welcome to the Adornes Estate.

Following a four year restoration which included removing 19th century accretions, Count Maximilien and Countess Véronique de Limburg Stirum, the 17th generation of the founding family, opened the estate to the public. While their grand house remains private, the adjoining Almshouses Museum, Jerusalem Chapel and Scottish Lounge can all be visited. Why Scottish? A whistlestop history will explain the tartan connection.

The Countess sets out, “It is equally remarkable that the Adornes history has continued unbroken over six centuries, surviving storms and setbacks, the secularism of the French Revolution, the fury of two World Wars and the inevitable periods of disinterest. In scarcely three generations, the Adornes were able to create such a strong familial and patrimonial identity that the following generations could rely on a heritage sufficiently full of responsibility and resources to allow them to ensure the continued preservation of the most important parts of what they had inherited. That being said, the Adornes history is much more than a story of bricks and mortar. It is also a story about people of flesh and blood.”

In the 14th century, Opicino Adornes came from Geneo to settle in Bruges to capitalise on the commercial and financial potential of this leading European centre. His descendants fitted into Bruges like hands in lace gloves. Travel writer Jan Adornes raved in 1471, “Bruges is the most refined city in the world. It is with good reason that people say it is filled with all God’s virtues and must be regarded as one of the most beautiful trading cities ever seen. The city is part of the sweet province of Flanders. Even though the soil is largely infertile, the sea and the foreign merchants make it one of the richest of cities in all respects, after Ghent, which is the first city and capital of Flanders. Because of its location and its beauty, it would be difficult to find a city that can compare to Bruges, the place that is our home.” The Adornes would be merchants, diplomats, pilgrims and  patrons of the arts.

International businessman Anselm Adornes negotiated a trade deal between Bruges and James III of Scotland. He travelled widely, visiting Jaffa and the Church of the Holy Sepulchre in Jerusalem. Véronique Lambert explains, “News of Anselm’s return was soon on everyone’s lips. His prestige in Bruges had been high before his departure, but his successful pilgrimage boosted it to new heights. The names Adornes and Jerusalem were now mentioned in the same breath. Inspired by his journey, Anselm drew up plans to demolish his father’s Jerusalem Chapel and replace it with a new house of prayer that was an exact copy of the Church of the Holy Sepulchre in Jerusalem itself – a fitting shrine for the Holy Relics.” The result is one of the most melodramatic features of the crowded skyline of Bruges: cupola capped octagonal turrets guard a stone pillared gallery which props up a timber octagonal box rising to a smaller box supporting a copper globe with a cross on top for good measure. Six almshouses for 12 poor women (one room each of the two floors), the new chapel and house rebuilding were completed by Anselm’s death in 1483.

Dr Roderick O’Donnell, Fellow of the Society of Antiquaries, states, “Bruges, the heart of Catholic Flanders, a vital redoubt of the Counter Reformation and for the preservation of English Catholicism during the years of persecution 1559 to 1791, that is, between the accession of Queen Elizabeth I and the Second Catholic Relief Act.” A chaplain performed a daily Mass for the Adornes family and the poor women. A priest still celebrates Mass every Saturday morning. In contrast to the Church of the Holy Sepulchre in Jerusalem with its chaos and cacophony, the Jerusalem Chapel in Bruges is a haven of tranquillity, a place of refuge, a sanctuary of solitude. Gregorio Allegri’s 1638 Miserere Mei Deus, that hauntingly beautiful nine voice setting of Psalm 51, penetrates the intense atmosphere. High C reverberates round the rooms. This really is a place of flesh and blood. A wooden Latin cross flanked by two Tau crosses on a white sandstone Calvary rises between the lower and upper levels.

Véronique Lambert again, “The instruments of the Passion are sculpted: the column, the purse with Judas’ 30 pieces of silver, the lantern, the rod, the whip, the lance of Longinus, two ladders, the ruined tower, the hammer, the tongs, the nails, the rope, the stick with the sponge, the bucket filled with vinegar, Christ’s garments and the dice use to cast lots for them. Together with the skulls and the bones they visualise in a poignant manner the suffering of Christ. At the top, there is an angel wearing a crown of thorns.”

The tomb of Anselm Adornes and his wife Margareta van der Banck forms the centrepiece of the lower level. A lion representing bravery lies at his feet; a dog for faithfulness at hers. The upper level rises for many metres through the octagonal tower and is capped by wooden cross rib vaulting. Under the upper level is a crypt with a low opening revealing the recumbent figure of Christ. Adios to the Adornes Estate.

Categories
Architecture Design

Bruges + Wolf Moon

An Ouroboros of Dynamic Energy

“There’s no moon, no moon in Paris,” croons Marianne Faithfull. But there’s a moon in Bruges tonight – and tomorrow’s dawn. Georges Rodenbach records in his dark thriller of 1892 Bruges-la-Morte “a second moon traced on the surface of the water” of the myriad canals of the Burgundian metropolis. It’s St Brigid Day’s Eve.

Categories
Art Design

Queen Astrid Park Bruges + Bust

Bray

A sort of wild dyarchy, a nascence of garnered plaudits.

Categories
Architects Architecture Art

Églises Notre Dame aux Riches Claires + Notre Dame du Bon Secours Brussels

The Dress is Fine

La Cathédrale by Joris-Karl Huysmans, 1898: “À Chartres, au sortir de cette petite place que balaie, par tous les temps, le vent hargneux des plaines, une bouffée de cave très douce, alanguie par une senteur molle et presque étouffée d’huile, vous souffle au visage lorsqu’on pénètre dans les solennelles ténèbres de la forêt riède.”

St Brigid is, along with St Patrick and St Columcille, one of the three saintly Patrons of Ireland. The Feast of St Brigid is celebrated on 1 February and ushers in spring. True to form, in Brussels on the eve of St Brigid’s Day it is fresh and sunny. The hustle and bustle of the city disappear behind the closed doors of the hallowed spaces devoted to Our Lady. Notre Dame aux Riches on Rue des Riches Claires (or Rijkeklaren Straat if you’re Dutch) is a baroque brick church built in 1665 to the design of architect Lucas Faydherbe. A block away on what is fancifully signposted Rue Tigresse Blanche (Witte Tijgerin Straat if you’re Dutch), Notre Dame du Bon Secours is of a similar style and vintage but with a stone exterior.

La Cathédrale: “Cela depend de Vous, assistez-le dans sa pénurie, pensez qu’il ne peut rein sans votre aide, bonne Tentratrice, Notre Dame du Pilier, Vierge de Sous-Terre!”

Categories
Design Restaurants Town Houses

Scheltema + Bouillon Bruxelles Restaurants Brussels

Sprouts

You can repeat the past, from croquet to coquetry. Sort of. Fresh from a party across two private rooms in The Garrick Club, London, dining with more titles than a Daunt bookshelf, Lavender’s Blue are off on the next Eurostar to Brussels. After some muscles, time for some mussels (later there will be some truffles). Shock, horror, the longstanding brasserie Scheltema, which we last visited in February 2013, is now history except for its first floor façade sign. Fortunately in December 2023, Bouillon Bruxelles opened in Scheltema’s airspace. Chef de Cuisine, Alexandre Masson, tells the tale,

“Born around 1850 in the heart of Paris in Les Halles district, the concept of Bouillons, created by Baptiste-Adolphe Duval, offered revitalising and quality cuisine. This project encountered a great success with numerous establishments in Paris and throughout the entire country. The Bouillons were renowned for their efficient management and iconic locations. Inspired by the Parisian concept, Bouillon Brussels, the first of its kind in Belgium, naturally established itself in the heart of the Ilôt Sacré, an historic district also known as the ‘Belly of the City’. Bouillon Bruxelles thus perpetuates the rich culinary heritage of Belgium’s poplar cuisine.”

Lavender’s Blue are in a rush (always) so it’s all about the entrées this afternoon. For frois, sardines a l’huite d’olive dans la boite (€9.90) and for chaud ravioles de langoustines (€12.20). A carafe of Côtes de Cascogne Marines 2023 (€10.80) pleasantly hints at deflation. The sinewy Art Nouveau décor has been given a lick of paint and a spray of polish so is still comfortingly familiar. So is the food. Déjà vu, déjà mangé. Chef Francisco strikes a pose by the shellfish. Then it’s a dash to spend cash in Les Galeries Royales Saint Hubert. Still such fun.

Back in time to Scheltema. While the horses for (main) courses saga runs amok across Britain (Shergar has turned up served on a plate), Lavender’s Blue decided it was time to cross the channel to brunch in equestrian mad Brussels. This may sound like the best idea since Patty Hearst thought she’d call by a San Fran bank armed with a semiautomatic, but bear with. Destination known: Scheltema, a seafood brasserie. In the lexicon of dining spaces, this is the Belgian capital’s written answer to London’s J Sheekey. Every cloud, and all that.

Understated frontage along Rue des Dominicains, a five minute stroll from Grand Place, belies its pedigree, the silver lining. More Art Nouveau than nouveau riche, Scheltema has been a favoured dining spot of the Almanach de Gotha and the like for the last 30 years. La Belle Époque never ended – it’s forever la Fin de la Siècle in this discreet part of Ilôt Sacré.

Beyond the awnings, the interior is an indulgence of rich wooden panelling, brass railings, leather seating and rows of green shaded hanging lamps reflected in oval mirrors. At the rear of the restaurant, Thierry and Christian, the ebullient Chefs, create a buzz in the open kitchen overlooked by diners. The service is equally energetic and fun.

The menu combines classic dishes with dancingly delicate dashes of individuality. Highlights include shrimp croquettes with fried parsley (€14); pan sautéed scampi with garlic (€20); and crisp Nobashi shrimps, sesame oil and butter (€19). Washed down with pinot gris Ma der d’Alsace, 2011 (€32). Coffee is served with a box of Biscuits Belges Artisanaux.

Place du Grand Salon, on the far side of Grand Place, provides the perfect setting for an early afternoon walk. At the weekend, stripy antiques stalls spring up under the watchful gothic grandeur of Église Notre-Dame de la Chapelle. Further uphill is its little town planning sibling, Place du Petit Sablon. Narrow streets climb past a wedge shaped garden, statuary framed against a verdant backdrop, up to the neoclassical façade of Palais d’Egmont. Once the seat of the Princes of Arenberg, it now houses the Belgian Ministry of Foreign Affairs. Such fun.

Categories
Architecture Country Houses People

The Darlings + Crevenagh House Omagh Tyrone

The Demise of a Demesne

Patrick McAleer writes in Townland Names of County Tyrone and their Meanings (1936) that Crevenagh aptly means “a branchy place”. Like most Irish townlands, the name had gone through several variations – Cravana, Cravanagh, Cravena, Cravnagh, Creevanagh, Creevenagh – before landing on Crevenagh. At the heart of the townland is the ever disintegrating Crevenagh House and its ever diminishing estate. The property first appears as Creevenagh House on the second edition Ordnance Survey Map of 1854. A gatelodge, summerhouse, outbuildings and formal garden are also shown on the map.

According to Billy Finn who wrote an essay The Auchinlecks of Ulster for the County Donegal Historical Society Annual of 2011, “The name Auchinleck was derived from the Gaelic Ach-ea-leac which means ‘field of the flat or flag stones’. The first recorded Auchinleck was Richard Auchinleck, who was a witness at a Sheriff’s in Lanark in 1263. Nicholas Auchinleck was uncle and ally of William Wallace (Braveheart) in the ambush at Beg in 1297.” The Auchinlecks would come to Ulster in the early 16th century.

David Eccles Auchinleck (1797 to 1849) was the youngest son of Reverend Alexander Auchinleck and Jane Eccles of Rossory, County Fermanagh. In the early 19th century he bought land at Crevenagh from Lord Belmore of Castle Coole, County Fermanagh, to build a home. He would later buy more land from Lord Belmore and build Edenderry Church of Ireland church three kilometres southeast of Crevenagh House. The church is a simple stone barn structure with a lower apse projection at one gable end and a chimney sized belltower over the other gable end. The online Dictionary of Irish Architects by the Irish Architectural Archive records that a builder William Mullin (or Mullen) designed and built the rectory next to the church in or after 1873. The rectory is a substantial two storey rendered dwelling. Is he also responsible for the church? There are Auchinleck, Darling and Moriarty family memorials next to each other in the sloping graveyard. Other surnames on gravestones include Atwell, Holland, Shelbourne and Somerville.

In 1837 David’s eldest son Thomas was born. He married Jane Loxdale of Liverpool. Thomas, who served in the Devonshire Regiment, died in 1893, leaving Jane a widow at Crevenagh House for the next 28 years. Their son Dan married Charlotte Madaleine Scott of Dungannon (who would become known as Aunt Mado). Dan was killed in action at Ypres in 1914 while serving with the Royal Inniskilling Fusiliers. His widow stayed with her mother-in-law until she died in 1921 and then on her own until her death in 1948. Colonel Ralph Darling and his wife Moira Moriarty of Edenderry inherited Crevenagh House from his Aunt Mado. Their son Gerald Ralph Auchinleck Darling (known as Bunny) and his wife Susan Hobbs of Perth, Australia, inherited the house 10 years later.

Sue Darling along with David Harrow wrote a history of Edenderry Parish in 2001. They summarise, “In 1656, John Corry purchased the manor of Castle Coole from Henry and Gartrid St Leger. His great granddaughter, Sarah Corry, in 1733 married Galbraith Corry, son of Robert Lowry, and about the year 1764 assumed the name Corry in addition to that of Lowry. From this union are descended the Earls of Belmore and most, if not all, the townlands of the parish passed to the Belmore family.” Including Crevenagh. A memorial in Edenderry Church of Ireland church to Bunny’s cousin, Field Marshal Sir Claude Auchinleck (1884 to 1981), states, “The plaque, the design of which is identical to the memorial in St Paul’s Cathedral, was erected beside others to members of the Auchinleck family, most of whom were killed in action.” Sir Claude (known as The Auk) was a frequent visitor to Crevenagh House.

Billy Finn explains, “Of course, Field Marshal Sir Claude John Eyre ‘The Auk’ Auchinleck, Commander-in-Chief of the British Army, Middle East and India, was to lead the British forces in the North African desert against Rommel in 1941 to 1942, while his brother Armar Leslie Auchinleck was killed at the Somme in 1916 serving with the Cameroonians attached to the Machine Gun Corps. Sir Claude lived most of his life in far off places like India, spending his final years in Marrakesh, Morrocco, but he never forgot his roots, declaring he ‘was proud of being an Ulsterman’.” He continues, “Whether it was at war or peace, the Auchinlecks of Ulster were ‘always on the alert’ and, even though there is little evidence nowadays of Auchinlecks in the north of Ireland, with the majority of descendants emigrating abroad, they remain one of the most intriguing of all the Ulster Scots families.”

In his introduction to The Military Papers of Field Marshall Sir Claude Auchinleck (2021), Timothy Bowman records, “Sir Claude Auchinleck himself, when relinquishing the colonelcy of the Royal Inniskilling Fusiliers, which he held between 1941 and 1947, identified his Irish origins by stating, ‘My forefathers lived in Enniskillen and Fermanagh for very many years and this makes me all the prouder to have belonged to the regiment.’ In fact Auchinleck’s father had equally firm roots in Counties Tyrone and Wexford and his mother’s family came from Galway. Auchinleck’s ‘Irishness’ can be questioned by the fact that The Irish Times, which had been the newspaper of the Anglo Irish establishment, though it had moved far away from these origins by 1981, did not carry a full length obituary of him and the recently published Dictionary of Irish Biography does not devote an entry to him. Professor Thomas Fraser overstates the contrary interpretation by noting that, ‘Two things stand out from Auchinleck’s background and early life: his sense of identity as an Ulsterman and his commitment to India.’ However, it is clear that Auchinleck spent most of his school holidays at Crevenagh House, near Omagh, County Tyrone, and visiting the house in August 1946 his private secretary, Shahid Hamid, remembered Auchinleck saying, ‘This is where I belong and that is why I am glad to be back here again to see you all.’”

The early 19th century main block of Crevenagh House was built in front of a smaller, lower, earlier house as often happened in Irish architectural aggrandisements. The grey of cement render walls and natural slate roofs contrasts with the red paint of the window frames and doors. The rear wing as it became (housing the kitchen and store) was extended in the late 19th century to include the addition of a plate glass chamfered bay window. The only completely symmetrical elevation is the three bay façade facing the rise and curl of the avenue. All five main windows are tripartite. The window of the polygonal porch (a later addition?) is bipartite. Entrance doors on either side of the porch lead into an entrance hall behind which lies a double return staircase positioned on the axis. There is fine Grecian plasterwork with matching overdoors throughout. It is a complete neoclassical villa plan as the chronicler of northwest Ulster, Professor Alistair Rowan, points out. The windows of the three bay side elevations are symmetrically positioned except for a shorter wall space next to the rear wing. The ground floor middle window on each elevation is bipartite but blind on one half as the window crosses an internal partition wall.

A short distance from the house is the farmyard enclosed on two opposite sides by a high wall and on the other two sides by two storey stables and workshops. The walls are roughcast lime rendered and the roofs corrugated iron and slate giving a vernacular appearance typical of rural Ulster. A walled garden leads off the courtyard through an arch. The walls of the square gatelodge with its pointy roof are also painted white. Dixie Dean writes in The Gatelodges of Ulster Gazetteer, 1994, “Circa 1845. In pristine condition a single storey stuccoed lodge below a hipped roof with big crude paired brackets to the eaves. Its sheeted front door and sash windows of the three bay front gathered under an all embracing label moulding. Built for Daniel Auchinleck …” To the rear of the house is a three bay single storey building with a stone front and other elevations roughcast, similar in size to the gatelodge. Is this the summerhouse identified on the 1854 Ordnance Survey map? Attached to its front elevation is a forecourt enclosed by two metre high cast iron railings.

Bunny and Sue Darling gave their last joint interview at Crevenagh House in 1991. They covered several broad subjects before honing in on their house. Bunny did much of the talking with his wife interjecting at times. “The Famine was an accident waiting to happen. It’s very hard to imagine eight million people living in Ireland. There are four million people now and out of that four million we have one and a half up here and they have two and a half in the south. Of their two and a half four fifths live in Dubin. There used to be twice as many people.”

“It’s very difficult to know where they all lived except when you go out on the mountain – you used to go out grouse hunting when I was young, no grouse nowadays – you can actually see where the farms went higher and higher up the mountain, and little gardens were very carefully walled off. People emigrated and died around the Famine time but it was almost certain to happen because there was too much dependence on one crop. And when that failed three years running things were bound to go wrong.”

“Things weren’t bound to go as dreadfully wrong as they did because when you read one terribly good book called The Great Hunger written in 1962 by Cecil Woodham-Smith they were actually exporting grain from down in the south while they were importing maize here. Of course nobody would eat maize – Kellogg’s Cornflakes and corn on the cob hadn’t been invented. People were just handed maize to make flour but it wasn’t in the nature of Irish people to eat that sort of stuff even if they were starving. That made it worse – it must have been simply horrible. The effects of the Famine depended on what the landlords were like. Some of them weren’t even in Ireland and it was left to an agent to look after things. In the end it depended on what sort of people they were and how much land they had.” Sue added, “The Auchinlecks had 5,000 acres.”

“Then the Land Acts came along to try and provide land for peasants because unfortunately by the Brehon law which is the Irish law you divided and divided and divided land. So out of the little plot of land, say half an acre, the two sons then had to have a quarter of an acre each and you go on until people were trying to farm a postage stamp. You couldn’t do it. To try and correct the Brehon law they had the Land Acts and took the land away from the landowners and paid them some sort of recompenses for the land. This took away the rental income, the land, and then the land was divided among the tenants so they got more land and they didn’t have to pay rent anymore.” Sue commented, “The landlords were paid handsomely actually. They were pleased with it at the time. The money got spent, mainly on horseracing and gambling!”

Bunny then started reminiscing about his youth. “I was born in the rectory at Cappagh about nine miles from Crevenagh in 1921. When I was a boy I used to be very impressed with my important relations living here. I stole fruit out of their garden with some trepidation that my own relations would catch me doing so because it’s quite hard to get into the big walled garden. In those days they had two gardeners. It was a wonderful garden like a showpiece with a beautiful border running up the middle. There’s two and a half acres of it and they had every kind of tree. Each flowerbed had little hedges round it. All that’s gone because you couldn’t keep that up nowadays.”

“My father was a colonel; I and my brother didn’t get on terribly well with my father. Almost to spite him we both joined the navy when the war started. I volunteered from school and I joined up as a boy seaman at 18 in 1940 and served in the navy through to 1947 so my adolescence disappeared chasing Germans and Japanese. I had a wonderful cook’s tour of the world because we always went east and my job was to be a sailor and also an air pilot. I flew spitfires from aircraft carriers so it was all very exciting – whenever you weren’t terrified!”

“You don’t believe that anything can happen to you in those circumstances. When I was still 18 I flew an aeroplane into a hillside and broke everything: both my arms and both my legs and my pubis and my pelvis and my hip was dislocated and fractured. So the doctor came and put his hand on my shoulder and said, ‘You needn’t think about flying again. You’re not going to walk again.’ I didn’t believe that and I was actually flying three months later. Of course it came back on me when I was 65 and had the usual hip operation. You don’t believe you’re going to get hit or that you won’t recover. Coupled with that when you’re that young you have a death wish that you wouldn’t mind dying cos it would be quite pleasant to die before you’ve done any harm. It’s a sort of very curious attitude to have, especially if you’re flying.”

“When the war ended I had no money at all because there was no backup from my father. My father was pretty badly off – he had by then moved into Crevenagh House and he hadn’t got money to go with it. I went to Oxford University where I had three scholarships waiting for me and read law. The scholarships were in Classics – Greek and Latin – but I changed to law mainly because I thought being a barrister was the only thing that couldn’t be nationalised. The Labour Government were just getting in for the first time.”

“Then the next stage in being a barrister is very uncomfortable because you don’t earn anything straightaway. You do nowadays, more than then, but then you didn’t earn anything for years. The only thing I had in the way of means was a scholarship which was £4 a week and so I lived on £4 a week in London and I can tell you that’s very difficult. I did a little bit of jobbing gardening and got the free rent of a potting shed at the bottom of a garden in Lancaster Gate, Paddington. It was a tiny little potting shed: you had a little table, a bed, a chest of drawers and a bookshelf and with a one bar electric cooker I used to cook and live there. Nowadays you wouldn’t be able to live on £80 a week. That would be the equivalent of £4 a week I think. However I got through the stage of what is called pupillage or apprenticeship to be a barrister. By a sheer fluke I was offered a chance of specialising in shipping law – ship collisions and salvage. I ended up as leader of the Admiralty Bar in England which is the top place in the world for shipping law. That why I couldn’t do it in Belfast.”

The conversation moved onto the origins of the Auchinleck family in Ulster. “The Auchinlecks came here in 1625 I think, the first record of them being in Cleenish which is now Ballinaleck. The first Auchinleck that came over was Rector of Cleenish. They came from Scotland; of course it’s a Scottish name. They go on from there mostly in Fermanagh working for the Belmore family. They bought the land for this house from the Belmores actually and curiously the Belmores were thinking of this site rather than Castle Coole for their major house. And it wasn’t quite as ridiculous as it sounds because this is up on a hill here and the river curves round below us – a lovely site looking across to mountains. You can’t see the river now because of the railway embankment and then the flood bank land was vested for playing fields.”

“It was a lovely site and it was a mile out of the town. Omagh has now grown round us so we’re a little island of green among housing estates like Thornlea which all ring our boundaries. Everyone around us presumably are millionaires while we remain very poor except we’ve got nice green land round the house. The Auchinlecks having started in 1625 in Ireland wouldn’t really count as Irish I suppose but it’s very hard to become Irish if you start Scottish. I can say while I’ve got a beautiful English accent I’m half a Kerryman cos the Moriartys came from Dingle.”

“The house is a military house because this is an Auchinleck house. It’s not a Darling house. And the reason I’m here is because my grandfather was a very poor curate and he used to make money by special coaching for children and looking after them in the summer holidays. So he came here to do that for the Auchinlecks and married one of the two daughters of the house. Well, the son of the house was Dan Auchinleck and he went off to World War I and got killed pretty well at the beginning in 1914. So that left his widow here from 1914 until 1948 and no male heir so when she died in 1948 my father inherited because he was the only male heir through his mother and that’s how the name changed from Auchinleck to Darling. It’s essentially a military house because nearly all the Auchinlecks were soldiers, the most famous one being Field Marshal Auchinleck who was a field marshal in World War II.”

And then the house was talked about in detail. “I think the marriage to the sugar heiress made it possible to build this house and then they were a family of some note. It was built in about 1810 or 1815 or thereabouts. It was built onto an existing farmhouse. Pictures we’ve got of it show it was just bare ground round the farmhouse where all the trees are now. So it all started from that. The trees are now over 100 years old. I’m beginning to wonder how long they will go on living. All those wonderful beeches all round the house.”

“There have been very few changes to the house. There was a bit built on really for guest rooms and odd things including a bathroom. The only bathroom in the house despite all its grandeur was in the annex bit where Mrs Bell lives now. We have a tenant there now because we don’t need all that room. That used to be the only bathroom – it was downstairs and it wasn’t in the main house! Apart from that there haven’t been any real changes in the house. We had to buy a new roof the other day. Fortunately I was in my full earning period as a QC so were able to afford it with a little help from the Listed Building people. The Listed Building people are rather tiresome because you think you’re going to get a lot of money out of them. Then they come and say what they want and so you end up finding the whole thing is much more expensive than you thought. So the money you get out of them really goes on doing the extras they insist on.”

“The house is unchanged from those days and architecturally one of the three main features is a thing called Wyatt windows. The windows are very very broad centrally and on each side of the main window is a little window and that is an architectural trick to make the house not look too tall. Because it is in fact quite tall – you can see that from the ceiling heights. It has the advantage that it make the house look very attractive outside. It has the disadvantage that there are an awful lot of windowpanes to leak draughts through.”

“And then the other quite exceptional feature is the mahogany doors and that was a quirk of fate. They came from Demerara with an heiress who was associated with the sugar business in Demerara. And then the third feature is a marble floor in the hall depicting the Seven Ages of Man right through from a puking infant to a decrepit old man like myself! We keep it covered with carpet. Those are really the three features of the house; otherwise it’s more or less a standard Georgian house. It is a good one – it has very thick walls; it’s very well constructed.”

“In the library there is about three feet underneath and right in the centre of the house there’s a very nice cellar you can get down to and in the cellar there is a well so that in those days there were thinking of defended farmhouses. That was to be the last defence – you got your water right down in the centre of the house. All the fireplaces are marble originals. The library has a good one. The grate is not the original grate – it’s a Devon grate for burning turf. You would’ve had a more ornamental one with vases but this has been converted to burn turf. We now burn logs as we’ve plenty of firewood. We harvest them in October to last us through the year. It’s cold and damp if you don’t live in the house. If you do live in it it’s fairly easy to keep it warm. You just have to remember not to leave the doors open on damp days or even on a cold day. The cold will come pouring in and run right through you.”

“There was a tennis court outside the library window. It was always pointing the wrong direction for the sun. It’s very hard to keep a grass court in Omagh. Tennis was governed by the weather, not like hunting which was governed by the breeding season, because only humans play tennis and they breed all the time and they don’t have a set season for it! When I was a boy I think there were 18 grass courts in the Omagh Tennis Club and the ladies of Omagh had a rota as to who would provide the tennis tea once a week. This was a great kudos, a great social occasion, and each lady in turn tried to have bigger and better cakes! You wouldn’t dare go there without your long white flannels – no shorts. Your decent shirt with buttoning arms and some kind of blazer or dark coat. And then you must not go with your shirt open. You had to have a little silk scarf which you made into a tie and tied it over so that it filled in your shirt. Well if you didn’t go like that people would say, ‘What’s wrong with that boy there; he doesn’t seem to know how to dress? We won’t ask him again.’ Things were like that in those days.”

“I had a kinsman who was a well known peer from round here, very eccentric in many ways. There were trains in Omagh; we all travelled by train up to Belfast and the Liverpool boat and so on. He used to turn up in a rather ramshackle but very grand for those days Austin and his attendant would get out with a large wicker hamper and that was taken into his first class carriage. But his next brother used to go into the second class carriage with a small package of sandwiches. Well, this same man was at one of those tennis teas where everyone else was behaving extremely well and somebody asked, ‘Would you like some cake, my lord?’ He said, ‘Yes certainly, would love it, I’ll have that big sticky one.’ So someone handed him the plate and instead of having the slice had the whole cake! He was a huge man. His descendants are extremely nice people and don’t eat complete cakes. They’re still around.”

Societal changes were discussed too. “That kind of lifestyle was really finished in World War I and staggered on in a fairly broken back way until World War II and then I think if you look in England or anywhere round Ireland it really all came to an end. If you want to live in this house you have to do it yourself. You buy as many machines as you can and hope they will do the work which people used to do. When I was a boy if you wanted to get a cook or a housemaid you only had to go to Donegal and you would have queues of people wanting to do the work. Nowadays you could put advertisements in the Con for domestic work and everybody would say not for me! That’s not specially Omagh; that’s just a big change in society. A whole generation of men were killed in World War I. It was a very foolish war and an awful lot of people were killed which took the heart out of the families who were in these houses and that applied to Ireland as well.”

“In spite of being neutral, Irish on both sides made an enormous contribution to the World War II and an even bigger one to World War I. In the hall that’s a Zulu shield from the Anglo Zulu War. They were all decimated defending and spreading the Empire and that’s really why there are no Auchinlecks left now.” Sue confirmed, “Everyone in this family was either in the army or the church. They spent their lives and made no money.”

Social mixing came up as a topic. Sue explained, “Generally speaking the class of people who lived in these houses integrated greatly. We’ve lovely stories: we’d Maggie Duncan from Drumnakilly who spent her whole life in this house and she told stories of how Mrs Auchinleck who was a great fisherwomen would occasionally get the gillie and the kitchen would be cleared and the gillie was very good on the squeezy – the accordion – and they would dance. Mrs Auchinleck was a widow here for years but young officers would come out and they would take a turn and they’d all have a dance in the kitchen. I think they integrated in a very nice way but there was a complete society in a house like this. It would have had an enormous amount of retainers and there were a lot of houses like this. Also, there was no transport – you had to make your fun where you were.”

Back to Bunny. “There was a room out the back called the servants’ hall and it had a great big table and at each end would have been the housekeeper and the butler and they were the head and foot of the table and then all the other people who worked in the house would be lined up on each side of the big table. They would’ve done very well on the class of food they got and they had their own rules. The same kind of thing as in that film Upstairs Downstairs – that was happening here as well except it wasn’t downstairs, it was on the same level.”

Sue again. “This Maggie who we were very fond of – well, my husband’s aunt and uncle were in charge of Springhill for The National Trust and they invited us over in spring when the house wasn’t open to have afternoon tea with them. I took Maggie and her friend Mrs Tracey who lived up in the top of the town. It was the most memorable tea party because Mr Butler showed them all round the house. We went into the different rooms and they would look at the fireplaces in Springhill and they would say, ‘My goodness, that would have been a good hour’s work at seven o’clock in the morning, cleaning that fire and getting it all ready for the next day!’”

Bunny once more. “Dear Mrs Tracey was a very keen Roman Catholic. She lived on that very steep hill that goes up from John Street to the Church of Ireland church. A little cabin. It must have been incredibly difficult to live there: very noisy, very hard to keep it clean or anything. I think it’s either tumbled or there’s some sort of café there now. Maggie was a very staunch Protestant; I think she would’ve been a Paisleyite probably. Come Christmas day we always had Mrs Tracey. We had to collect Mrs Tracey to share Christmas dinner with Maggie and they got on like a house on fire. Mrs Tracey had a mischievous sense of humour; great great fun. It depends on the family too. Some families were nice and integrated as my wife was saying and treated the people who worked for them well. Other families, usually because they weren’t quite sure of themselves, were pretty nasty.”

Country house pastimes were another topic. “Entertainment was various forms of shooting and fishing which according to how well off you were you could find. My favourite place for fishing was Loughmacrory Lough and I used to bicycle out the whole way to Loughmacrory and spend a day fishing there and then bicycle back. In those days you found your own fun because you were prepared to bicycle 12 miles. You didn’t wait till you could own a car or for your parents to drive you out there.”

“There were dances in Omagh usually with orange squash and with very severe controls on behaviour. If you were caught kissing somebody you would probably be kicked out. Of course there was the County Cinema and the Star Ballroom Cinema next door to our bakery, The Model Bakery. The back regions of the Tech are where the Star used to be. The Star had slightly more risqué films. A risqué film was a film that showed somebody’s knee more or less. The County was very reliable and posh. You used to take an expensive seat in the gallery for one shilling and one penny I think it was in old money. But if you were really bust you could all go in a gang and take a ninepenny seat down below. It was actually a very nice cinema run by Mr Donaghy. Once a year the circus used to come; it used to be a great annual event. You might possibly go up to Belfast for the pantomime in the Grand Opera House once a year.”

“I myself having two grandparents who were clergymen, entertainment at the rectories was entirely composed of Biblical quizzes, Biblical boardgames, Biblical this, that and the other. The result was I learnt my Bible terribly well but it wouldn’t sound very exciting to a child nowadays although the boardgames were the same old boardgames only about Biblical characters.”

“Of course there was the hunt, the Seskinore Harriers, which was going strong and with luck you could get some sort of pony and go out with the Seskinore Harriers. They had a point to point once a year at Strabane – a very ramshackle affair really. I remember once we were going to one jump and there were two old ladies wearing black shawls as they did in those days. There was a manner of dressing where people dressed in black dresses and wore black shawls. And two of these ladies were walking across from one jump to another and one of them said to the other, ‘Come on over here Maud and by the grace of God we’ll see a corpse!’ And that was the sort of thing you might see – someone breaking their neck at any moment but that was more important really than the result of the horse race!”

Finally, the ongoing connection to Omagh came up for discussion. “I used to come back to Omagh whenever I could. I only retired from the bar a year ago. My father died in 1958 so from then onwards we’ve been managing this place from a distance bar holidays. We were very lucky to have two women working for us who lived here and the pensioner Robbie Stockdale lived in the gatelodge. We put Crevenagh House on the market because we hadn’t got very much money and we were only offered the probate amount of £7,000 for the whole lot which was ridiculously low.” Sue recalled, “I’ve spent six months of the year here every year for a long time. It’s a very different outlook. I found it a total culture shock between living in London and living in Omagh. I found it very easy to get on with people in Omagh. The English are very law abiding. The law can fit in with your life here. I’m Australian. I love going back to Australia too and they come over here and visit. We’re almost professional guides with all our visitors!”

Two years after this interview took place, Bunny Darling was appointed High Sheriff of County Tyrone. Another role he had enjoyed was as Admiralty Judge to the Cinque Ports when the Queen Mother became Lord Warden in 1979. Her Majesty’s residence attached to this role was Walmer Castle in Kent. Bunny died in 1996 and seven years later, Sue put Crevenagh House on the market for the first time in its history and moved to England to live near their children Patrick and Fiona. The house and what remained of the estate were bought by a local businessman. As for the destiny of the lots? Lot 1a Crevenagh House is still structurally intact with the ground floor windows boarded up. Its grounds including the walled garden are overgrown. The gatelodge (excluded from the sale) is burnt out soon to disappear forever. The summerhouse is derelict but not beyond repair. Lot 1b Stable Block is burnt out but the shell could still be restored. Lot 2 Hill Field has been developed for housing. Lot 3 Orchard Field is under development for housing. The Omagh throughpass runs through Lot 4 The Holm and the remainder of this land is now a car park and playing fields.

Savills’ and Pollock’s auction catalogue states the following. Lot 1a Crevenagh House (12.56 acres): “A tree lined avenue leads from the public highway to the house which faces south and west over its own grounds. The Georgian house, built circa 1820 for the Auchinlecks, is a fine example of a period residence, set in rolling lawns and woodland. The house has remained in the same family ownership since it was built. There is a self contained and separately accessed staff or guest accommodation to the rear of the house. To the south of the stable block there is a south facing walled garden of approximately two acres surrounded by a brick wall, stone faced on the exterior. The southern boundary is formed by a pond.”

Lot 1(b) Stable Block (0.25 acres): “The stables are located within the grounds of Crevenagh House and provide an opportunity to purchase and develop attractive stable buildings and a yard for residential purposes. Planning permission was granted on 26 October 1999 for conversion into three residential units.” Lot 2 Hill Field (9.84 acres): “An area of south sloping pasture land divided into two fields. The fields are zoned for housing within Omagh development limits: Omagh Area Plan, 1987 to 2002. A planning application has not been submitted and prospective purchasers should rely on their own inquiries of the Planning Authority.” Lot 3 Orchard Field (8.92 acres): “This area of approximately nine acres lies to the east of Crevenagh House and is bordered by woodland. The south facing lands are not presently allocated for development but there may be longer term potential.” Lot 4 The Holm (9.73 acres): “This field, with access from Crevenagh Road under the old railway bridge, is bordered by the Drumragh River. The lands are presently used for agricultural and recreational purposes. Parts of this Lot will be affected by the new road throughpass but a portion of the remainder may have some development potential, subject to planning approval.”