In my previous post I said I am writing a book about the famous 19th Century architect Sir Charles Barry and his five sons, of whom four became well-known in their own right.
Why am I telling this story?
Firstly, because I want to. That’s my prerogative as the author! It will fulfil my personal ambition ever since I started researching one of the sons (can you guess who?) many years back.
Secondly, because I think stories are great ways to communicate with people about things that may hit a chord with them. These can be very personal issues, or more likely because they empathise with certain characters and the good and bad times they may go through. It can also be for purely technical reasons e.g. they love trains so any book about them is bound to be an attraction (hint, mine will have some mentions of trains, but don’t get your hopes up if you’re a fanatic!).
Thirdly, because if people like this story then perhaps they’ll be interested in other ones that follow. This would be good for both me and them as writer and readers. Clearly it’s a relationship.
Last night I watched the new film about the character Mowgli from the famous Jungle Books created by the journalist and author Rudyard Kipling. For those who may not know the tale, Mowgli is a boy who was raised by wolves in the Indian jungle and is conflicted by his upbringing with animals and the fact that he is a human underneath. This is a fascinating paradox which the author explores expertly and weaves his magic in the form of a plausible story.
To my mind this is the essence of story telling, which I hope I can somehow reproduce through my writing.
I’ve decided to write a family biography of Sir Charles Barry the famous 19th Century architect and his sons who were architects, a surveyor, a civil engineer and a bishop.
This website is about the civil engineer Sir John Wolfe Barry. His brothers were Alfred (the bishop), Charles Junior (architect), Edward (architect) and Godfrey (surveyor).
The plan is to complete a synopsis and a few sample extracts to send off to agents in the hope there may be interest from publishers. If not then I will self-publish.
Why would people want to read such a book?
I hope because they are intrigued by the history of architecture and civil engineering and the structures associated with this family. Caroline Shenton has written two superb books about the Houses of Parliament for which Sir Charles Barry is best known. Alfred wrote a sanitised biography of his father. All of the brothers except Godfrey feature in various biographical compendiums and tributes from their professional colleagues.
Please contact me via @behroutcomes on Twitter if you can help in any way with interesting research or materials about the family and the things they built or people they engaged with.
As blogged before, next summer will mark 125 years since Tower Bridge was opened.
I’ve added a couple of extra pages to this site which is about the man who built the bridge. The first is on how John Wolfe Barry persuaded Parliament to approve the plans for a bascule bridge across the Thames. The second covers the pivotal role of William Arrol in manufacturing and installing the steel framework for the towers that supported the huge bascules. I will add further pages as we get closer to the date.
You can also keep an eye on Tower Bridge’s own plans at its Facebook page and via its Twitter handle @towerbridge .
At least one new book about the history of the bridge will be published, but in the meantime you can read Honor Godfrey’s excellent softback of 1988 through library loans or Amazon.
On 30 June 2019 many of us will be celebrating 125 years since Tower Bridge was first opened to the public.
More than a year ago I started putting content on this website about the builder of Tower Bridge with the aim of completing it by 22 January this year, the centenary of Sir John Wolfe Barry’s death. I was actually ahead of target.
So I’ll set myself another goal for the 8 plus months until we reach the end of June next year: add more content to this website specifically about Tower Bridge, but obviously relevant to what is already here. As I did with John Wolfe Barry’s biography, I will blog as I go along. Tomorrow I will start with the beginnings of JWB’s involvement with the project to span the Thames further east than had ever previously been achieved with a bridge.
Hope you come back to have a look.
This in my final post in a series looking at a project I’m planning to undertake about a specific architectural style and its local communities.
In my last post I described the role of the Belgian architect Victor Horta in creating a unique ‘modern’ style in Brussels at the very end of the 19th Century. There followed a highly active period prior to the start of the First World War where other architects followed his example.
Horta’s style was somewhat disparagingly called ‘noodle’ or ‘whiplash’ by critics. This is because he used strong visual symbols based on nature within many aspects of it. More importantly, he perhaps unknowingly, trod in the footsteps of both the traditionalist ‘Arts & Crafts’ movement in England, and the ‘modernist’ approach starting to emerge particularly from the Chicago school of architecture in the USA. His was a complete solution to a client’s design brief covering every single aspect of a domestic and/or work residence using a range of materials and solutions.
Other architects in Belgium, Austria-Hungary, Germany, Finland, Scotland, Spain and the Baltic States drew courage from this radical new approach. It became known as ‘Art Nouveau’, ‘Moderne’, ‘Jugendstil’, ‘Liberty’ and ‘Secessionist’ to name a few terms. I particularly like the last one as it best conveys the idea of a break from the past.
In Latvia which was then a part of the Russian Empire, a frenetic period of activity took place for a decade or so after 1899. As a result, the capital Riga has become a World Heritage Centre for the extent of its architecture reflecting this time and style. There is a beautiful museum describing the buildings and key architects, one of whom stands out for me: Konstantins Peksens.
How does any of this relate to Sir John Wolfe Barry, civil engineer?
Probably not very much as he was from an earlier generation and clearly wasn’t an architect like his father and two of his brothers. However, he was in touch with communities: his greatest civil engineering achievement Tower Bridge has resonated with the people of London, in deed the world, for almost 125 years since it was completed.
In the previous post in this series I referred to a unique office building in Liverpool, England completed in 1864 and how it had influenced architectural thinking about high rise buildings in late 19th Century America.
This post is about the architect Victor Horta.
I knew little about him until recently, when I began researching the origins of Art Nouveau as a revolutionary architectural style which flourished across the turn of the 19th and 20th Centuries. This connects with investigations related to Augustus Pugin, as well as into the relationship between architectural aesthetics and engineering form, some of which is recorded on this website about the civil engineer Sir John Wolfe Barry.
Horta appears to me to have been a remarkable man. But he was also a reflection of the time and place he lived. Born in Ghent, Belgium in 1861, he eventually moved to Brussels, the Belgian capital, where his unique approach to architecture struck a chord with key members of the city community. One particular building stands out for me and many others who have like me appreciated his efforts. This is the Hotel Tassel.
It was to be the home of a professor of geometry who was a Freemason like Horta. It seems the architect was given complete artistic licence. But he approached this, as Morris and Webb had done with their ground-breaking Red House in England, with a philosophical bent which captured the full expression of his talent in design and the detailed application of materials and techniques.
My new project will look at how this created vision still reverberates within the community that is Brussels.
This follows on from my previous blog in the series.
In that I outlined my interest in a project looking at the Secessionist style of architecture and its impact on local communities. I explained the connection to Sir John Wolfe Barry through his father the architect Charles Barry, who worked closely with Augustus Pugin on the New Palace of Westminster.
In the next blogs I will expand on the development of the Secessionist from the ‘Arts and Crafts’ movement in England and the link to a wider style of nascent modern architecture that hit a number of major European and US cities at the turn of the 19th and 20th Centuries.
Were local communities really involved with these changes? Clearly certain key representatives would have been, but nothing like the levels of consultation we are supposed to have in the present day democratic structures of these cities. Society was different and change could only happen if endorsed by those with influence. New construction materials and techniques were arriving on the scene through developments in steel and concrete. There was risk involved in using them, so someone had to be prepared to stick their head above the parapet and answer to the public acclaim or shame involved. Human lives were less valuable then.
One pivotal moment for me which followed the completion of the ‘Arts and Crafts’ Red House in quiet Bexleyheath, England mentioned in the previous blog, was the building of Oriel Chambers in the heart of the busy City of Liverpool a few year later in 1864. Unappreciated at the time it has since been recognised as a unique early modern inhabitable structure using an iron frame and glass panels, originally the preserve of greenhouses and exhibition spaces such as the Kew Palm House and the Crystal Palace. In deed the building continues to be used as office space more than 150 years later!
Many suggest that this building inspired the architects of the Chicago School to create the first steel and glass skyscrapers in the late 19th Century, which were to become so commonplace globally and are still being constructed to this day, with the use of concrete rather than brick support. One of their number was Louis Sullivan who in turn worked with his protege Frank Lloyd-Wright before they fell out. Lloyd-Wright turned Sullivan’s phrase ‘form follows function’ into ‘form is function’. He himself coined the term ‘organic architecture’ to show the close connection between structures and their natural environment.
To be continued ….