We were on a mini road trip of parts of England for a few days. More than 1000 miles clocked up at least.
We dropped in on a Barry and Banks Jacobethan manor hall in Norfolk and a Nash Italianate villa built in Shropshire in 1802. We also saw Gothic Ilam Park in the Peak District and the amazing St Giles Roman Catholic Church in Cheadle by Pugin.
In between we admired the beautiful Lake District countryside where Wordsworth, Ruskin and Beatrix Potter all lived.
For me it was a reaffirmation of the treasures that can be found in my home country. Some of these I will write about in my forthcoming book. More importantly I will be able to include current day images of them.
You will have to wait until publication to see these, so in the meantime I have included a classic Lake District scene for you to contemplate – who knows it may inspire you to go there?
I decided a while back that I would self-publish my forthcoming book on the Brunel and Barry families.
This has meant foregoing current earnings to spend time writing and there is no guarantee how I will do with my first (and possibly only!) book.
I have also spent money on an editorial assessment and buying image rights, plus I am committed to further payments for editing, proofreading and design and marketing costs. Since I don’t know what sales will be like, it’s difficult to estimate future income from publication. This also depends on the cover price and whether I market it only as an e-print or also as a hard- or softback.
That being said, the people I am writing about were very familiar with the concept of risk. Isambard K Brunel’s father Marc was thrown into debtors’ prison as poor cashflow held up his ground-breaking projects. It was only the threat of him returning to the old enemy France that precipitated action at the highest levels to release Government funds. Sir Charles Barry and his son Edward Middleton Barry were consistently at loggerheads with Parliament over delayed payments for building the New Palace of Westminster.
So, it would help me greatly to know what interest there might be out there for this book. The current favoured title is “Barry, Brunel and sons:
Builders to the British Empire”. My only concern is there is too much alliteration going on in it. What do you think? Tell me in a comment below.
To get a flavour of the book please look at the content of this website – it develops from the main focus here on John Wolfe Barry, to a wider scope looking at his father, brothers and close relationship with Henry Brunel, hence brings in the latter’s famous father IK and grandfather Marc. It also makes connections between Victorian architecture and engineering and modern day structures such as the world’s tallest skyscraper, the Burj Khalifa in the UAE.
P.S. The illustration of Big Ben is made from a photo I took of it at night time before the current renovation works. Another Barry structure!
I’ve written half my target number of words for my book on the 19th Century Barrys. The rest needs to be completed by mid-June latest.
One thing that changes as I add words to the draft is the title and structure of the book. It has now moved on from a central focus on Sir Charles Barry and his three architect/civil engineer sons, to a wider scope including the great Isambard K Brunel and his son Henry Brunel.
This makes for a better connection with the themes of family, recognition and building that run through the book, as well as allowing me to look even more closely at the relationship between architecture and civil engineering.
What, you might ask, is the connection between the Barrys and the Brunels?
John Wolfe Barry and Henry Brunel were close friends and business partners who lived and worked in the Brunel family home and offices in London for the first years of their civil engineering collaboration. Once John was married and children started arriving, Henry had to leave his parents’ house as a lifelong bachelor and hand it over completely to his friend. This can’t have been easy for him!
The fathers of each son knew each other and were both Fellows of the Royal Society. They had also worked together on designing a venue for the 1851 Great Exhibition in London which became known as the famous Crystal Palace. There is no evidence of any close personal or business relationship between them and this could be said to typify the traditional space between British architects and civil engineers.
The book will expand on the above and is currently due for publication by end September 2019. Fingers crossed!
I’ve sent off a possible cover design for my forthcoming book on the 19th Century Barrys which I pulled together in a few minutes using a cheap software programme.
I didn’t plan to do this but an opportunity came up for a free assessment by a cover designer so I thought I’d give it a go.
I found a template with a picture of the Eiffel Tower on it and then played around a bit with the title and my name. Of course for this book the structure could be one of many towers, depending on how I want to represent the Barrys visually without just sticking their portraits on the cover.
They say you should trial a range of different cover designs with audiences to see which ones work best, but I don’t have the budget for that.
What criteria do I think should be important for a potential reader?
- Confirmation that they are looking at the right category of book e.g. historical non-fiction about buildings and their builders
- Sense of pleasurable expectation of an experience that opening the cover might lead to.
- Hint of quality of a product that can’t be touched before purchase as it will be marketed electronically, and you can’t get refunds on books you don’t enjoy reading, caveat emptor.
I will reveal the design stages later down the line.
I’ve had the privilege of working with leading civil and structural engineers over the period since early 2016.
I am not one of them, in the sense that I don’t have their knowledge, understanding and skills in the technical requirements of civil and structural engineering. However, I do understand much better some of their key attributes and motivations.
One that stands out is their approach to solving problems. If a building or a bridge falls down killing and injuring people then the first question asked is: who built it? There may be some context for this, in the sense that if the structural failure was due to an ‘Act of God’ such as an earthquake or tidal wave, then some leeway is given to the identified responsible person. However, if as in the Grenfell Tower inferno, or the collapse of the Morandi Bridge in Genoa, there is some sense that the blame was entirely linked to human neglect, then the repercussions can be very severe for those found wanting.
On the other hand, progress through technical advances is only really made as a response to a crisis of some kind. If we had no crises then life might appear easier for all of us, but there would be costly consequences. Society would become stale and complacent, more susceptible to potential threats that could have much bigger impacts for larger numbers of victims. There are difficult choices to be made with pros and cons each way.
Civil and structural engineers therefore solve problems as ‘scientifically’ as they can, based on hard evidence of past failures and successes, but also with due acknowledgement to present circumstances and future possibilities. The professional standards they set for themselves assure that this is the case, and if the public is not sufficiently convinced then Government legislates as a further safeguard.
The 19th Century Barrys, about whom I am currently writing, faced these same issues as builders of structures. They also tried to guide the conversation through their involvement with developing professional bodies in architecture and civil engineering. Charles Barry junior and John Wolfe Barry were both Presidents of their Institutions (RIBA and ICE) and Sir Charles Barry won a preeminent Royal Gold Medal from Queen Victoria for his professional services to architecture.
As I write this I am heading back home from school.
It is one I attended as a teenager and of which I have mixed memories, hence some nerves on my arrival earlier today.
When there I never appreciated the beautiful old building in which we had assemblies and were taught. Too busy surviving as a confused teenager. Now I returned as an alumni who is fascinated by the building’s architect Charles Barry junior.
My final year subjects were history, French and economics. The first two were strong personal preferences and because I wasn’t allowed to do maths with them (shocking but true), I opted for economics which my older brother had recommended to me.
I continually regret not having done maths after age 16 and this in part inspired me to work later in life in maths education policy. An achievement of which I am proud is that we managed to convince the English Government of the importance of as many teenagers as possible doing post16 maths.
I did meet the head teacher but we didn’t discuss education. As it turns out the school is celebrating 400 years since its foundation as a place for poor scholars to study. Part of the celebrations was a lecture a fortnight back by Caroline Shenton on Sir Charles Barry, who like his son had been surveyor to the vast Dulwich Estate. During today’s research I took a photograph of an original 1830 letter of reference from Edward Cust allowing Barry senior to gain his position. Cust had previously chaired the selection panel which had chosen Charles to design and build the seminal Travellers Club in London. He would go on to be one of the judges who selected Barry’s design for the New Houses of Parliament, declaring no personal interest in the outcome.
Such was the way of the world and it still continues to this day. Who you know is more important than what you know. I don’t agree with it but would be foolish to ignore the benefits.
By Barrys I don’t mean Barry Manilow or Barry from Eastenders.
I do mean Sir Charles Barry and his sons Charles junior, Edward and John. They are the main characters in the joint biography I am writing of an atypical Victorian family.
Most of us associate the Victorian period with scenes from a Charles Dickens novel or with Queen Victoria and her Prince Consort Albert. For me it is inextricably linked to architecture (we live in a Victorian house even though it was built a few years after the Empress died) as well as the industrial and commercial expansion of the British Empire culminating in the Great Exhibition of 1851 held in the magnificent Crystal Palace.
That last structure brings together a few strands in the developing book. Sir Charles Barry sat on the planning committee for it together with Prince Albert and IK Brunel. His close collaborator on the New Palace of Westminster, Augustus Pugin, created an amazing display of medieval crafts which typified the Gothic Revival style he defended so vociferously against Greek classicists.
Once the Great Exhibition finished it was decided to move the whole structure to Sydenham Hill outside London, though now in a suburb in the capital aptly called Crystal Palace. To allow access to it a new high level railway station was built at the top of the hill to reduce the walk for visitors. There is some dispute whether Charles Barry junior or his brother Edward Middleton Barry was responsible for this structure since demolished, but certainly the subway from the station to the site of the palace is still accessible with its amazing vaulting and decoration.
Charles Barry junior did build the splendid new Dulwich College in the 1860s just down the hill from the Crystal Palace and shown in the above photo. I went to school there but never realised its architectural significance or link to the Barry family. Not even my best friend Barry knew this. If he actually existed that is ….