Holywood and Cultra, County Down. Brighton and Hove, East Sussex. Margate and Westgate, Kent. Deal and Walmer, Kent. Some coastal towns don’t need a committee to be twinned. Each resort itself is dual aspect with a centre and a front. “You can do things at the seaside that you can’t do in town,” went the old music hall saying. Architecture by the sea can also exhibit a frivolity not found so much inland. The 1927 terrace facing leafy Archery Square, a block back from Walmer seafront, is a case in point. These six two storey with attic houses overlook the rather smart Walmer Lawn Tennis and Croquet Club. Their white painted brick walls and louvred window shutters appear suitably nautical but it is the roof that turns to pure whimsy. The dormer of each house and the side elevation of the terrace are framed by extravagant Dutch gables. Provençale style red pantiles add a splash of colour to the roof. The architects, Messrs Kieffer and Fleming, are relatively unknown. One other project they did work on is Barrington Hall in Cambridge. They remodelled that house which also has white painted brick walls and Georgian sash windows, but is American Colonial in essence with a columned verandah overlooking the lawn.
Earlier that day there would be a visit to Pubble Graveyard. It’s a bluebell and buttercup filled haven 1.25 kilometres west of St Eugene’s Glenock, full of buzzing buzzards and racing hares and the bystanding curious. A stone walled enclosure once part of a Franciscan friary, one of its remaining crumbling gravestones reads: “Erected in memory of Margory of Lower Callon who parted this life 23 March 1873 aged 70 year.” Then there is John McLaughlin’s gravestone: he died aged 91 in 1888. Or Mary Morris who illegibly allegedly died goodness knows what age in 1885. All this history is secreted and nestled below the heavy brown heather of Mary Gray and Bessie Bell hills.
John Gebbie records in his 1968 Ardstraw (Newtownstewart): Historical Survey of a Parish, 1600 to 1900, “In this parish were three 15th century monasteries of the Third Order of Franciscans according to a 1603 Inquisition, ‘Corock, Puble [sic], and Garvagh Kerin. Each had three parts of a quarter of land (120 acres) attached of annual value 1/7 Irish money. But they had just recently been dispossessed and lay ruinous, as they do today.’” Father Colhoun explains, “Pubble is the English transliteration of the Irish word ‘pobal’ meaning ‘people, population, community or parish’. In Irish, one of the most common names for a church is ‘teach an phobail’ meaning the house of the community. The reason the townland of Pubble has its name is that the graveyard originally had a church.”
“Our parish has one of the oldest post Reformation churches still in use for Catholic worship in Ireland,” continues this most erudite of priests. “There has been a Catholic church on this site at Glenock since 1785.” Typically for a Catholic church, St Eugene’s lies beyond the nearest town of Newtownstewart, on a country road opposite Holm Field. The Priest regularly takes fundraising historic tours of the area. “After the 1829 Catholic Emancipation the bells of St Eugene’s would be the first to ring in the Catholic diocese since penal times.” But is the current church fit for today’s purpose? “Absolutely,” he smiles, “and no matter where you sit, you can always see me!”
“Until the 1960s churches like St Eugene’s were built to face east. The Ascension of the risen Lord was in the east and He will come again from the east,” says Father Roland. “Around 550 AD, St Eugene established his religious foundation in Ardstraw, which is the origin of this parish. As monastic Abbot, Eugene became Bishop of Ardstraw! His name, which means ‘born under the sacred yew tree’, was added to the church at Glenock in the 19th century, many years after its inception. At present, our project of restoration is the renewal of the church windows. There were never stained glass windows in this building. The windows were replaced and repaired down the years, according to deterioration and need. In 1978 the four windows on the sanctuary wall were replaced. In summer 2021, experts spent two days excavating the boxing casing on every window and Queen’s University plans to carry out carbon testing on many of the wooden structures in the building.” Authentic restoration is paramount to Father Roland. “The octagonal baptismal font in front of the altar dates from as recently as 2016,” he explains. “It had been commissioned by my predecessor to replace the old font which disintegrated beyond repair some years before his tenure. Also in 2016, I designed the octagons and crosses in terrazzo flooring to provide an elegant surround to the font and funereal area. Accordingly, the font stands opposite the resting area for coffins. Alpha and omega: on both occasions you are carried into the church.”
At a glance, Dr Roderick O’Donnell, architectural historian, Pugin expert, Country Life contributor and a Vice President of the National Churches Trust, comments, “This St Eugene’s is a typical Roman Catholic development: an early rectangle which grows wings to become a T plan. The 1834 belfry was enhanced by a timber spirelet of 1904. Note the roundhead and Gothick windows of two storey in height. It’s galleried inside and is an important survival of such a church plan.” More in-depth investigation to come.
“Look at the quatrefoil and circular windows,” assesses Rory. “There was clearly a 19th century façade campaign, a highly conscious decision to Gothicise this vernacular building. The adoption of Gothic is making a statement about history, an historicist reference. This simple Irish and Scottish T plan is compatible with the reformed Catholic liturgy. St Eugene’s is an architectural conundrum: the stairs up from the porch suggest that is the earlier part of the building. The ambitious Georgian sashes are an important survival. Then there’s the slate roofed Victorian porch. It’s all charmingly vernacular. Inside, the original altar rails have been relocated to the upper balcony. I think the original towering timber reredos has been cut down. It was probably a majestic piece of interior architecture. But the current crucifix makes a striking statement. The marble and stone altar is much later 19th century.”
Dr O’Donnell summarises, “To find these elaborate galleries in a country situation is quite rare. They are good pre Victorian joinery, of much better quality than those found in churches in the west of Ireland. The fabric suggests the galleries are the oldest internal fittings in the church. Edward Toye added the spire and I believe he probably reroofed the church. Did he Gothickise some of the windows too?” That Catholic architect was improbably the protégé of Apprentice Boy John Guy Ferguson and together they were responsible for some of Derry City’s finest Victorian and Edwardian buildings.
Later conversations will be had. “On Irish Georgian Society LondonTrustee Stuart Blakley’s question about the pattern of windows on the differing elevations,” Conservation Architect Peter Gallagher will respond, “The glazing bars within the replacement windows will follow the existing patterns, responding to the round headed masonry openings and the pointed arches respectively, repeating what Stuart refers to as the ‘fanlight’ umbrella shaped glazing bars in the first and, in the latter, the pointed Gothick shaped arch with Gothick style ‘trellis’ bars.” In the meantime, there will be an early Sunday morning dew soaked photoshoot from Holm Field. Despite its museum-like aura, resembling one of the buildings transported to the Ulster American Folk Park outside Omagh, St Eugene’s is very much a working church. As Father Roland Henry Colhoun might quote, “Omnibus bene tibi erit.”
The house became locally known as The Haunted House when it fell vacant in the early 20th century before it was bought by the Misses Outlaw in the 1920s. Clearly unperturbed by any ghostly rumblings, the two sisters ran turned it into the Riverholme Restaurant and Guesthouse. Changing hands over later decades, the hotel expanded to back onto the River Thames. Sarova Hotels purchased the hotel in 2011 and carefully restored it. The riverside brasserie in Sir Christopher Wren Hotel is the best place in Windsor for afternoon tea. Save, perhaps, for an invite from Her Majesty to sup at nearby Windsor Castle.
The ground floor central much glazed Palladian doorcase below a first floor canted oriel is a commercial unit which is now a chic deli and café. Owner Kate Golding-McKeogh, who also runs The Kitchen café in Omagh, has enhanced the original period interior, adding Shaker style display cabinets and rich floral wallpaper. “This Listed Building became available and we jumped at the chance to take over these gorgeous premises and just ran with it!” she relates.
The only club you’ll find these days on Upper Street is the sandwich variety but what Islington lacks in nightlife it more than makes up for with the daytime artisanal individuality that’s packed into Camden Passage. This pedestrianised paradise may be parallel with Upper Street but that’s where the connection ends: the only chain you’ll find on Camden Passage is a handmade piece of jewellery. The Segal family run restaurant Frederick’s has graced Camden Passage for more than half a century. Its spacious light filled contemporary interior, lending regularity of form to fitness of function, comes as a revelation after the decorative three bay Victorian street front.
“The Chinese are just loving Zaha Hadid Architects’ work,” promises Shai Baitel, Artistic Director, MAM Shanghai. “This exhibition shows how it is global and timeless. The work is never compromising, always creating a new language. Today’s dessert is inspired by Zaha Hadid: geometric shaped pastries brushed with a very bitter Iraqi oil!” He proclaims, “Multisensory is all good!” as we receive a spray of Zaha’s fragrance.
“Zaha continually pushed forward; she was always evolving,” Shai summarises. “Geography versus movement translates into this scent. It contains Indian and Saudi oud; the mixologist is French; and it is made in Italy. Zaha was enigmatic: she was very feminine but never married. This fragrance is genderless.” And what fills the air is an abstract fifth dimension built upon organisation and articulation; organised articulation; articulated organisation.Órla Constant has flown in from Lady Kitty Spencer’s wedding to join our table. “Kitty wore three wedding dresses on the day: all Dolce + Gabbana. She was like a sublime Cinderella!” As for Zaha: “I was so privileged to have met her. She’s left such a legacy.” Órla is Relationship Director of Centrepoint. “Prince William chose us as his first charity. He’s very emphatically linked to us and the young people. He’s an amazing ambassador. We’re really out there as a charity!”
Zaha Hadid Architects Director Woody Yao also joins our table. He’s back from the 10th anniversary of the opening of Roca Showroom in Imperial Wharf which he designed with fellow Director Maha Kutay. That opening party seems like a hot minute ago. “I joined Zaha’s practice in 1994,” Woody relates. “She was one of the most genius architects of all time. The way we move around is all about Zaha genius. She stuck to her authentic voice. Zaha inspired generations of architects. She’s in our DNA! Technology changes; so does the way we do drawings but we carry that same spirit. We’re more like a movement than a style.”
“Architecture frames social interaction,” writes Patrik in his 2012 Volume II The Autopoiesis of Architecture. “The design environment matters: it frames all interactions. Only on the basis of the designed environment as complex systems of frames can society be reproduced on the level of complexity it has attained.” One chapter is titled “World Architecture within World Society”. Today is a global adventure: the world from a virtual aeroplane known. Everywhere outside Frederick’s, floodlights rake the sky.
“The sun always shines on the righteous!” claims hotelier Astrid Bray and sure enough the clouds fade to reveal an unblemished cobalt blue sky over the Capital City of Northwest Ulster. For once it’s not “foundering” as the locals would say. Depending on your persuasion, the name of this place is a four syllable binational portmanteau (Londonderry), a three syllable aristocratic surname (Londond’ry) or a rationalist nationalist two syllables (Derry). The city is one of two in Northern Ireland to share its name with its host county; Armagh does as well (Antrim doesn’t count as it is a mere town and county).
Sisters Margaret and Laura Bowe are joint châtelaines of Marlfield. Laura is Chairperson of Ireland’s Blue Book. “Now entering its 47th year,” she explains, “our collection of properties and restaurants continue to offer luxurious, memorable and unique experiences across the length and breadth of the island of Ireland… We are very proud of our chefs and patron chefs, with many of our restaurants boasting one and two Michelin stars.”
Guests at Bishop’s Gate Hotel are greeted by a framed picture of a quote by the sage Madame Lily Bollinger, clearly not the abstemious sort: “I drink when I’m happy and when I’m sad. Sometimes I drink when I’m alone. When I have company I consider it obligatory. I trifle with it if I’m hungry and drink it when I am. Otherwise I never touch it, unless I’m thirsty.” Equally educational are a series of framed architects’ drawings illustrating the genesis of the architecture of the hotel and other significant buildings in Derry.
Like all cultural tourists to the city, we ask our waitress for directions to the Derry Girls mural. “Not a bother!” she enthuses. “Just like a lollypop lady I’ll direct you!” Her shortcut is through the rear of the hotel. “This room used to be a garden and that’s a covered up well in the corner. The house where the hotel is now was used to hold prisoners during the Siege of Derry. They were able to travel underground from here to a well on Shipquay Street and from there across to boats on the River Foyle to escape.”
It was as if the three greats of Irish ecclesiastical architecture were drawn over two centuries to this elevated site high above the River Foyle by some spiritual force. And one English great in the background. Building by James Joseph McCarthy. Spire by Edward Toye. Sanctuary by Liam McCormick. Inspiration by Augustus Welby Pugin. It’s a precipitous mountain of a church built in part of Newry granodiorite and Mourne granite.
A noticeboard outside the main entrance reads: “St Eugene’s Cathedral was solemnly opened on 4 May 1873. The cathedral cost a little over £40,000 to build, of which £4,000 was raised in America and the rest was donated by the people of Derry. William Roddy, Editor of the Derry Journal, said in 1899, “Do not let us forget that this is a cathedral built out of the pennies of the poor, the sixpences of those not quite so poor and the shillings of those we were better-to-do.”
A high two storey main block, a low two storey ancillary block and a three storey campanile type tower all fit more or less into one rectangular footprint (except for south and east facing bow windows and north and south facing porches), neatly threading together the polite and service rooms of the house. Tall chimneystacks, some a storey in height, rising over slate hipped roofs, form a stimulating roofscape. Wilmont House is the centrepiece of a 54 hectare estate on the outskirts of Belfast.