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Downing College + University Arms Cambridge

What Has Been Will Be Again

The late David Watkin, Professor Emeritus of History of Architecture in the Department of History of Art at Cambridge University, was a super fan. He wrote at least two books on the architect: Quinlan Terry (2006) and Radical Classicism The Architecture of Quinlan Terry (2015).

Pastiche is a criticism often levelled at neoclassical architects but rarely at Modernist practitioners. Sammy Leslie, châtelaine of Castle Leslie, gives a sharp riposte to any suggestions of pastiche aimed at the traditionally designed houses by Dawson Stelfox of Consarc Design Group in the walled estate of her County Monaghan castle. “They’re original designs, not copies. For example, although they’re village houses, the bay window idea comes from the castle. The development is all about integration with the existing village. It’s contextual. These houses are like fine wine. They’ll get better with age. There’s a fine line between copying and adapting but we’ve gone for the latter.” And as Ecclesiastes 1:9 notes, “What has been will be again, what has been done will be done again; there is nothing new under the sun.”

Professor Watkin certainly believed in the aging Cabernet Sauvignon argument, and, evidently, the Oxford Comma. “Quinlan Terry notes that the Psalms are a patchwork of Moses and the Prophets; that in the New Testament the apostles constantly quote the Old Testament; and that Shakespeare can only be understood properly when one realises that he is frequently quoting earlier writers. Aristotle claimed in the Poetics that imitation, mimesis, is the common principle of all the poetic arts. He believed that the instinct of imitation is implanted in man from childhood and distinguishes us from the animals. For him, poetry is the imitation of life through rhythm, language, and harmony. The inventive response to precedent as well as the role of imitation are demonstrated by the fact that three major works of Quinlan and Francis, Hanover Lodge, Kilboy, and Ferne Park, have all involved their making sympathetic yet imaginative and large scale responses to earlier buildings, which, in the case of Ferne, they had designed themselves.” Jeremy Musson admired Kilboy in Country Life (2016) “Kilboy is a masterpiece, a highly crafted interpretation of the Palladian tradition that cannot fail to impress.”

Critic Jonathan Meades as ever gets it right. He writes about the “worldwide scream of accusatory architects: ‘Pastiche!’” in his essay France in Pedro and Ricky Come Again (2021). “The architectural doxa decrees that pastiche is a Very Bad Thing Indeed. The collective convention forgets the history of architecture is the history of pastiche and theft: von Klenze’s Walhalla above the Danube is based on the Parthenon; G G Scott’s St Pancras borrows from Flemish cloth halls; Arras’s great squares are imitations of themselves.” And in his essay Obituaries in the same collection: “Architecture like poetry is founded in copyism and plagiarism – both vertical, looting the past; and horizontal, stealing from the present. The obscure past, of course, and the geographically distant present.”

Quinlan Terry has designed several infill buildings in the sedate setting of Downing College, Cambridge. David Watkin writes, “The Fellows of Downing College voted for the appraisal of Quinlan Terry’s Howard Building (1986 to 1989) in 1983, not so much because he promised classical forms, but because they were persuaded that any building by him would be solidly constructed and would have a long life. Cambridge was by now acutely aware of the structural and environmental faults of the structural and environmental failures that afflict High Tech modernist glass buildings – James Stirling’s famous History Faculty Building (1964 to 1967), for example, was visibly decaying and surrounded by a wire fence labelled ‘Dangerous Structure. Keep Out.’ Members of the History Faculty came within one vote of demolishing it and replacing it with something more sensible.”

But demolition of the prominent neoclassicist’s buildings has indeed occurred. Professor Watkin again, “Terry also provided Downing College with a modest, one storied, freestanding Junior Combination Room that resembles a garden pavilion, as well as Richmond House, a range of shops and offices that fits effortlessly into Regent Street, next to the college.” The three storey plus attics Richmond House on Regent Street backing onto the grounds of Downing College is safe for now. But the single storey Butterfield House as the Common Room became known as is for the chop. Inefficiency of volume is the justification. Kathryn Ferry notes in Bungalows (2014), “The first book specifically dedicated to bungalow design was published in 1891 by the architect Robert Alexander Briggs.” Architects of the moment Caruso St John have secured planning permission to replace the 1987 building with a larger three storey block. Caruso St John’s design is still inspired by William Wilkins’ college buildings but is a much more streamlined toned down lower key less prescriptive interpretation compared to its predecessor on this site. Unusually, the replacement stone faced building will incorporate a hardwood panelled pediment over the second floor.

Two presumably more permanent 20th century additions to Downing College are Howard Court and Maitland Robinson Library. Again, the Professor Emeritus is full of praise: “Terry’s Howard Court at Downing College, a three storied range of chambers 11 bays long, continues the Doric colonnade of the Howard Building at right angles to it but as an open internal passageway. Casement windows on the top storey echo those in the nearby buildings from 1930 to 1932 and 1950 to 1953 by Sir Herbert Baker and A T Scott. A generous building of Ketton stone with widely spaced windows below broadly projecting Tuscan eaves – a development of Terry’s houses in Frog Meadow in Dedham – Howard Court is popular with the undergraduates who live in it.”

“Terry built the square planned Maitland Robinson Library (1990 to 1992) at Downing College of loadbearing Ketton stone,” explains David Watkin. “Its many Grecian references remind one of Wilkins’s scholarly knowledge of Athenian architecture, and include a powerful Greek Doric portico inspired by the gateway into the Roman Agora (10 BC) in Athens, and Wilkins’s own unexecuted Greek Doric porter’s lodge for Downing College, inspired by the Propylaca in Athens (439 to 432 BC). Additionally, the portico of Terry’s library, especially in its relation to the rest of building, echoes Wilkins’s now demolished portico of about 1805 at Osberton Park in Nottinghamshire. The metopes in the Doric frieze of the library are filled with large scale carved symbols representing the subjects taught and studied in the college. The doorcase in the portico combines Greek work, including canted architraves, with references to Michelangelo’s elegant doorcase in his Medici Chapel in Florence (begun 1520). The capriccio of Athenian references includes the octagonal tower surmounting the library, inspired by the Tower of the Winds in Athens (1st century BC), and the eastern portico, which is indebted to the now destroyed Choragic Monument of Thrasyllus (319 BC) on the Acropolis. The top lit octagonal staircase hall contains panels of stucco decoration designed by Francis Terry and inspired by those of the Ata Pacia in Rome.” Andreas Papadakis writes in Classical Modern Architecture, 1997, “The entrance door is a combination of Greek key pattern with splayed architraves.”

He jumps to Quinlan Terry’s defence once more: “Criticism of the Howard Building came from the distinguished critic Gavin Stamp in the Architects’ Journal in March 1988, even though he had previously written in praise of Terry’s work in Architectural Digest. His condemnation of the handling of the classical language in the Howard Building and of its ‘sham’ features were refuted, respectively, in two accompanying essays by the distinguished historian Sir John Summerson, and by the architect Léon Krier. Summerson explained, ‘I had an opposite opinion to Stamp where the exterior is concerned. My own first view of the building gave me a rare shock of pleasure. Here was a façade with something to say in a language that I happen to understand and love. The general proportions and the distribution of openings seemed absolutely right: the Corinthian order took my fancy – it has been carefully studied.’ Krier claimed that ‘if applied universally, Stamp’s criticisms would indeed have to condemn the majority of classical buildings in Cambridge and the world. It is that kind of moralistic radicalism that established and maintains Modernism’s intolerant reign.’ Stamp’s article, and the essays by Summerson and Krier, were reprinted for an American audience in the journal Progressive Architecture, in July 1988.”

Opposite Richmond House and overlooking Parker’s Piece is the University Arms, one of few hotels in Cambridge. Neoclassical architect John Simpson and interior designer Martin Brudnizki, the latter best known for fitting out The Ivy restaurants, revamped an existing Victorian and Edwardian building that had 1960s extensions. John Simpson really came to the public’s attention, or at least the coffee table magazine reading public’s attention, in 1991 with the house he designed for his parents. Ashfold House near Cuckfield, West Sussex, popped up absolutely everywhere from House + Garden to the Daily Mail Book of Home Plans. Clive Aslet lavished praise on the villa; his opening line in Country Life was, “Ashfold House is everyone’s dream. Later in the decade, Andreas Papadakis describes the building as, “A small country house, compact and practical for everyday use, but with the grace and proportions of an 18th century residence.” It is something of a reduced cross between Pell Wall Hall and Pitzhanger Manor given a cloak of Palladianism. University Arms, with its bulky new porte cochère bulging onto Regent Street, is definitely more on the Quinlan Terry end of the stylistic spectrum than the Caruso St John end.

The best place to take in a panorama of Cambridge, old and new and somewhere in between, is from the 360 degree viewing platform on top of the 800 year old tower of Great St Mary’s University Church. Immediately below the parapets are The Guildhall, King’s College and Chapel, Michaelhouse Centre and the Wren Library. Downing College blends afar into the honeyed blur of the city.

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Sammy Leslie + Castle Leslie Glaslough Monaghan

The Rear View 

Castle Leslie Rear View © Lavender's Blue Stuart Blakley

John Betjeman, Winston Churchill, Marianne Faithfull, Paul McCartney, W B Yeats and Lavender’s Blue have all been. The great and the good, in other words. In recent years thanks to Sammy Leslie and her uncle the 4th Baronet, Sir John (forever known as ‘Sir Jack’), Castle Leslie has flung open its heavy doors to the hoi polloi (albeit the well heeled variety) too, rebuilding its rep as a byword for sybaritic hospitality. Visitors from Northern Ireland could be forgiven for experiencing déjà vu – it’s the doppelgänger of Belfast Castle. Both were designed in the 1870s by the same architects: Sir Charles Lanyon and William Lynn.

Castle Leslie Porte Cochere © Lavender's Blue Stuart Blakley

Together these architects captured the spirit of the age. Lynn produced a majestic baronial pile with chamfered bay windows perfectly angled for views of the garden and lake simultaneously. Lanyon crammed the house of Italian Renaissance interiors and designed a matching loggia to boot. Fully signed up members of the MTV Cribs generation will find it hard not to go into unexpected sensory overload at this veritable treasure trove of historic delights. Castle Leslie is all about faded charm; it’s the antithesis of footballer’s pad bling. But still, the place is an explosion of rarity, of dazzling individuality. Sir Jack’s brother Desmond Leslie wrote in 1950:

Castle Leslie Garden Front © Lavender's Blue Stuart Blakley

“The trees are enormous, 120 feet being average for conifers; the woods tangled and impenetrable; gigantic Arthur Rackham roots straddle quivering bog, and in the dark lake huge old fish lie or else bask in the amber ponds where branches sweep down to kiss the water.”

Castle Leslie Garden © Lavender's Blue Stuart Blakley_edited-1

We caught up with Sammy in the cookery school in one of the castle’s wings. “Although I’m the fifth of six children, I always wanted to run the estate, even if I didn’t know how. After working abroad, I returned in 1991. The estate was at its lowest point ever. My father Desmond was thinking of selling up to a Japanese consortium. There was no income… crippling insurance to pay… The Troubles were in full swing. People forget how near we are to the border here.”

Castle Leslie Monaghan © Lavender's Blue Stuart Blakley

Nevertheless Sammy took it on. “I sold dad’s car for five grand and got a five grand grant from the County Enterprise Board to start the ‘leaky tearooms’ in the conservatory. They were great as long as it didn’t rain! And I sold some green oak that went to Windsor for their restoration. Sealing the roof was the first priority. Five years later we started to take people to stay and bit by bit we got the rest of the house done. So we finished the castle in 2006 after – what? Nearly 15 years of slow restoration. “The Castle Leslie and Caledon Regeneration Partnership part funded by the EU provided finance of €1.2 million. Bravo! The house and estate were saved from the jaws of imminent destruction.

Castle Leslie Urn © Lavender's Blue Stuart Blakley

The Leslies are renowned for their sense of fun. An introductory letter sent to guests mentions Sir Jack (an octogenarian) will lead tours on Sunday mornings but only if he recovers in time from clubbing. In the gents (or ‘Lords’ as it’s grandly labelled) off the entrance hall beyond a boot room, individual urinals on either side of a fireplace are labelled ‘large’, ‘medium’, ‘tiny’ and ‘liar’. Take your pick. A plethora of placards between taxidermy proclaim such witticisms as ‘On this site in 1897 nothing happened’ and ‘Please go slowly round the bend’.

Castle Leslie Lake Front © Lavender's Blue Stuart Blakley_edited-1

Bathrooms are a bit of a Leslie obsession ever since the thrones and thunderboxes were introduced upstairs. “The sanitary ware in the new bathrooms off the long gallery is by Thomas Crapper. Who else?” she smiles. “We’ve even got a double loo in the ladies so that you can carry on conversations uninterrupted!” Exposed stone walls above tongue and groove panelling elevate these spaces above mere public conveniences.

Castle Leslie Long Gallery Garden © Lavender's Blue Stuart Blakley_edited-1

In the top lit gallery which runs parallel with the loggia, the 1st Sir John Leslie painted murals in the 1890s of his family straight onto the walls and framed them to look like hanging portraits. Always one to carry on a family tradition with a sense of pun, this time visual tricks, Sammy has created a thumping big doll’s house containing an en suite bathroom within a bedroom which was once a nursery. It wouldn’t look out of place on the set of Irvine Welsh’s play Babylon Heights.

Castle Leslie Glaslough Lake © Lavender's Blue Stuart Blakley

A sense of history prevails within these walls, from the amusing to the macabre. The blood drenched shroud which received the head of James, 3rd Earl of Derwentwater, the last English earl to be beheaded for being a Catholic, is mounted on the staircase wall. “It’s a prized possession of Uncle Jack’s,” Sammy confides.

Castle Leslie Entrance Hall 2 © Lavender's Blue Stuart Blakley

Our conversation moves on to her latest enterprise: the Castle Leslie Village. “An 1850s map records a village on the site,” she says. “Tenant strips belonging to old mud houses used to stretch down to the lake. Our development is designed as a natural extension to the present village of Glaslough.” In contrast to the ornate articulation of its country houses, Ulster’s vernacular vocabulary is one of restraint. Dublin based architect John Cully produced initial drawings; Consarc provided further designs and project managed the scheme. Consarc architect Dawson Stelfox has adhered to classical proportions rather than applied decoration to achieve harmony. Unpretentiousness is the key. At Castle Leslie Village there are no superfluous posts or pillars or piers or peers or pediments or porticos or porte cochères. Self builders of Ulster take note!

Castle Leslie Drawing Room © Lavender's Blue Stuart Blakley_edited-2

That said, enough variety has been introduced into the detail of the terraces to banish monotony. Organic growth is suggested through the use of Georgian 12 pane, Victorian four pane and Edwardian two pane windows. There are more sashes than a 12th of July Orange Day parade. Rectangular, elliptical and semicircular fanlights are over the doorways, some sporting spider’s web glazing bars, others Piscean patterns. “We’ve used proper limestone and salvaged brick,” notes Sammy. “And timber window frames and slate.”

Castle Leslie Grand Piano © Lavender's Blue Stuart Blakley

We question Sammy how she would respond to accusations of pastiche. “They’re original designs, not copies,” she retorts. “For example although they’re village houses, the bay window idea comes from the castle. The development is all about integration with the existing village. It’s contextual. These houses are like fine wine. They’ll get better with age.” It’s hard to disagree. “There’s a fine line between copying and adapting but we’ve gone for the latter.”

Castle Leslie Paintings © Lavender's Blue Stuart Blakley

Later we spoke to Dawson. “Pastiche is copying without understanding. We’re keeping alive tradition, not window dressing. For example we paid careful attention to solid-to-void ratios. Good quality traditional architecture is not time linked. We’re simply preserving a way of building. McGurran Construction did a good job. I think Castle Leslie Village is quite similar to our work at Strangford.”

Castle Leslie Miniatures © Lavender's Blue Stuart Blakley

The houses are clustered around two eligible spaces: a square and a green. Dwelling sizes range from 80 to 230 square metres. “We offered the first two phases to locals at the best price possible and they were all snapped up,” says Sammy. “This has resulted in a readymade sense of community because everyone knows each other already. A few of the houses are available for holiday letting.”

Castle Leslie Conservatory © Lavender's Blue Stuart Blakley

“We’re concentrating on construction first,” she explains. “The hunting lodge being restored by Dawson will have 25 bedrooms, a spa and 60 stables. It’ll be great craic! Between the various development sites we must be employing at least 120 builders at the moment. Estate management is next on the agenda. Food production and so on.” Just when we think we’ve heard about all of the building taking place at Castle Leslie, Sammy mentions the old stables. “They date from 1780 and have never been touched. Two sides of the courtyard are missing. We’re going to rebuild them. The old stables will then house 12 holiday cottages.”

Castle Leslie Tearoom © Lavender's Blue Stuart Blakley

We ask her if she ever feels daunted by the mammoth scale of the task. “I do have my wobbly days but our family motto is ‘Grip Fast’! I think that when you grow up in a place like this you always have a sense of scale so working on a big scale is normal. I mean it’s 400 hectares, there’s seven kilometres of estate wall, six gatelodges – all different, and 7,300 square metres of historic buildings.” Sammy continues, “The back wall from the cookery school entrance to the end of the billiard room is a quarter of a kilometre.”

Castle Leslie Long Gallery © Lavender's Blue Stuart Blakley_edited-1

“A place like this evolves,” Sammy ruminates. “There’s no point in thinking about the good ol’ days of the past. The castle was cold and damp, y’know, and crumbling. And it’s just – it’s a joy to see it all coming back to life. The whole reason we’re here is to protect and preserve the castle and because the house was built to entertain, that’s what we’re doing. We’re just entertaining on a grand scale. People are coming and having huge amounts of fun here. Castle Leslie hasn’t changed as much as the outside world. Ha!” This year there’s plenty to celebrate including the completion of Castle Leslie Village, the Leslie family’s 1,000th anniversary, Sammy’s 40th birthday, and Sir Jack’s 90th and the publication of his memoirs.

Castle Leslie Fireplace © Lavender's Blue Stuart Blakley

That was six years ago. This summer we returned to Castle Leslie. Our seventh visit, we first visited the house umpteen years ago. Back then Sammy served us delicious sweetcorn sandwiches and French onion soup in the ‘leaky tearooms’, looking over the gardens of knee high grass. The shadows were heightening and lengthening ‘cross the estate. Her late father Desmond showed us round the fragile rooms lost in a time warp. Ireland’s Calke Abbey without the National Trust saviour. He would later write on 11 May 1993, waxing lyrical to transform an acknowledgement letter into a piece of allegorical and existential prose:

Castle Leslie Cartoons © Lavender's Blue Stuart Blakley

“I am glad you enjoyed your personally conducted tour. We try to make them interesting and amusing. Thanks also for St John – the only disciple who really understood. His opening verses contain more advanced cosmic science than all the modern theorists bundled together. I also love Chapter 17 ‘that ye may be one’. But now, at least, scientists state it all began with the sudden appearance of light from nowhere, filling the whole of space in a billionth part of a second – The Big Bang. Or more simply – ‘Let there be Light. And there was Light.’ As our old friend Ecclesiastes says, ‘There is nothing new under the sun.’ I hope you will come again when you have nothing better to do on a nice weekend.”

Castle Leslie Library © Lavender's Blue Stuart Blakley

On another occasion, Sammy’s sister, the vivacious Camilla Leslie, came striding up the driveway, returning home from London to get ready for her wedding the following week. “Nothing’s ready! I’ve to get the cake organised, my dress, at least we’ve got the church!” she exclaimed, pointing to the estate church. This time round we stay in Wee Joey Farm Hand’s Cottage in Castle Leslie Village, enjoy a lively dinner in Snaffles restaurant in the hunting lodge, and once again, afternoon tea, now served in the drawing room. Meanwhile, Sir Jack is taking a disco nap in the new spa to prepare for his regular Saturday night clubbing in Carrickmacross.

Castle Leslie Staircase © Lavender's Blue Stuart Blakley

That was four years ago. Visit number eight and counting. More to celebrate as Sammy, still living in the West Wing, turns 50. Sir Jack would have turned 100 on 6th December but sadly died just weeks before our visit. This time, we’re here for afternoon tea in the rebuilt conservatory or ‘sunny tearooms’ as they turn out to be today. The assault of a rare Irish heatwave, 26 degrees for days on end, won’t interrupt tradition. A turf fire is still lit in the drawing room. ‘Apologies for the mismatching crockery as so many of our plates have been smashed during lively dinner debates’ warned a sign on our first visit. The crockery all matches now but the food is of the same high standard:

Castle Leslie Execution Cloth © Lavender's Blue Stuart Blakley

Sir Jack Leslie Castle Leslie @ Lavender's Blue

Miraculously, Castle Leslie still has no modern extensions. It hasn’t been ‘Carton’d’ (in conservation-speak that means more extensions than an Essex girl in a hairdressers). Instead, the hotel has grown organically, stretching further into Lanyon and Lynn’s building. An upstairs corridor lined with servants’ bells – Sir J Leslie’s Dressing Room, Lady Leslie’s Dressing Room, Dining Room, Office – leads to a cinema carved out of old attics. Castle Leslie has had its ups and downs but Sammy Leslie is determined to ‘Grip Fast’! And in response to Ms Leslie’s late father’s letter to us, we will come again when there is nothing better to do on a nice weekend.

Castle Leslie Afternoon Tea © Lavender's Blue Stuart Blakley