Kidderminster, Worcestershire

A small glory

Yesterday some inner imp in me made me decide to visit Kidderminster. It’s a sad place, hardly designed to improve one’s mood, where Victorian civic buildings abut large-size charity shops, where once magnificent Victorian carpet factories overlook vacant lots, where an inner ring-road slices through the townscape. And yet there is magnificence (not least those carpet factories, one of which houses the Museum of Carpet), if you look for it.

Here’s one building stuck between shopping centres and car parks that deserves a second look. It’s currently behind a locked gate and signs warning one to keep out, but I could still see enough to make me stare. A church, clearly, but of what denomination? I found myself speculating whether it might be Catholic or perhaps rich carpet-manufacturers’ Methodist. But no, this place of worship, originally built in 1782 but given this impressive front in 1883, is actually Unitarian. What a splendid display of Gothic revival with its 14th-century touches – those pointy buttresses, the horizontal band of quatrefoils running below the big windows, and all those curvy ogee canopies (mostly adorned with crockets) above every opening. All particularly effective when the sun chooses to shine on it, bringing out the ruddy colour of the rock-faced sandstone walls.

It was once more magnificent still – there was a stone parapet running along the top of the gable and that lump of stone in the gable’s centre, as well as bearing an inscription with the dates of foundation and rebuilding, supported a central turret that has gone. What a pity those elements have bitten the dust. I also mourned the closed gate and doors. I’d have fancied a look inside (the church contains a 17th-century pulpit once in the parish church and some late-Victorian stained glass, among other things. Maybe one day.

Chiltern Open Air Museum, Buckinghamshire

Hot hut

Here is another look back at a building I saw at the ChiItern Open Air Museum back in last summer. It is, as many of my readers will know, a Nissen hut, a kind of building that could be erected quickly to provide anything from storage space to accommodation for troops. Indeed it was an army officer who came up with the idea, and here’s what I wrote about these simple but ingenious buildings in an earlier post:

It was in 1916, that Lt Col Peter Nissen had the idea of combining a metal frame and sheets of corrugated iron to produce cheap, easily assembled huts for the Allied armed forces. The army acted quite quickly on Nissen's idea because they needed huts: like many a good inventor, Nissen had seen a pressing need – for cheap buildings that could be made quickly to house an expanding army – and set out to find a way of fulfilling it. Although the idea of the hut is very simple, the finished design was not done in a day, because Nissen had to refine it, thinking of everything from an easy, watertight way to joined the iron sheets to a set of simple illustrated assembly instructions that could be followed by unskilled men working at speed.

I might have added that another refinement was constructing windows in the curved walls of the building. The Nissen hut al the museum shows the dormer window design that was the usual solution. It was easy enough, as here, to include extra windows in the flat ends of the hut – the end wall was usually of wood, although masonry end walls were also sometimes built.

This hut’s original use is not known. When the museum acquired it, it was at a farm near Dunstable, where it had been used for storage. At the museum it has two uses. The front part is fitted out as an air force briefing room from World War II; a room at the other end is used by educational groups that visit the museum. It may be almost 100 years old – no one is sure of its exact age – but it’s still a practical little building.

Chiltern Open Air Museum, Buckinghamshire

Still flushing

As I am not quite ready to post any recently visited buildings, this is a structure from a trip to the Chiltern Open Air Museum last summer. It consists of a number of standard manufactured parts that are designed to be shipped to the site where they can be assembled. What the original owners got when they assembled the building was a rather large public lavatory. It was built in 1906 in Caversham,. at one end of a tram line that terminated near the River Thames by Caversham Bridge.

I have posted before about metal lavatories or ‘public conveniences’ as they used to be called in Britain,* in cities such as Bath, Bristol or Lincoln. However, the loos in my earlier posts were quite small – ideal for tucking away in a small space where demand would not be too high. The Chiltern Open Air Museum’s example, on the other hand is really large. It’s made up of 451 panels of cast iron and a series of iron uprights with slots in them into which the panels slid. For privacy, there are no windows in the wall panels, but light comes in through clerestory windows in a ‘lantern’ feature that sticks up in the centre of the roof. The upper parts of the wall panels are pierced with numerous holes arranged in an ornamental pattern, to allow smells out and fresh air in. The building is divided in two, with separate parts for men and women, and the original users (from 1906, when the building was erected) inserted one penny into the slot on the door of one of the cubicles.

Now the public loo is at the museum, it is still used for its original purpose and still seems to contain the original plumbing and sanitary ware. It’s the first of these metal-panel public loos I’ve seen that is still fulfilling its original function. Impressive, it seems to me, after some 118 years of service. Most of the buildings in open-air museums are no longer used in the way that was first intended – they’re displayed as houses, shops, workshops, churches, toll houses, and so on, and very interesting they are. This example of continued use deserved to be celebrated – and not only when one is feeling the need for it after much refreshment in the museum’s tea shop.

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* British English: lavatories, public toilets, public conveniences, loos; American English: restroom, bathroom.

Gents: interior showing clerestory grilles to admit light and air

Halesworth, Suffolk

Not quite lost

My interest in medieval art and architecture has taken me into churches by the score, from cavernous cathedrals in big cities to tiny, unregarded parish churches, sometimes in remote locations up tracks or in fields. So often in these buildings, I’m reminded of the numberless images that have been lost or partly lost to the depredations of the Reformation, to vandalism, to time. The paintings and carvings in English medieval churches, fading to nothing or brighter, but with faces hacked or scratched away, are some of the most tantalising works of art anywhere. Now and then, however, I’m pulled up short by secular imagery in a similar state, like the woodcarvings on the exterior timbers of medieval houses, from Stratford-upon-Avon or Tewkesbury in the west to Lavenham in the east, or, also in the east, at Halesworth.

What a shock to the innocent shopper in Halesworth is the carving on this otherwise unremarkable shopfront. A pair of lions, stretched out horizontally to fit both the available space and heraldic convention, flank a shield that must have borne a coat of arms (please click on the image to enlarge it). On either end are smaller scenes with beasts. The small carving on the left (in my picture below) depicts an eagle holding in its talons a human figure with something in its right hand. This scene may be the abduction of Ganymede, cup-bearer to the gods, by Zeus. The corresponding subject on the right looks like an episode out of the story of Reynard the fox and has been interpreted as Reynard n his role as physician, holding a basket of herbs, while the goose holds a flask. One theory about the coat of arms is that it was that of the de Argentein family – Margaret de Argentein was said to have been a medieval resident, and the family held the role of cupbearers to the royal family until 1424, which gives relevance to the image of Ganymede.

The combination of high-status heraldry and more folkish images of foxes and geese is interesting, but should not be surprising to anyone who has visited a few medieval churches. Church art often combines or juxtaposes carvings or paintings of saints and angels with imagery that’s earthy, comic, or sometimes simply lewd. All human life was there, along with heavenly life too. Cherished survivors like these Suffolk carvings add yet more to the diversity.

Bungay, Suffolk

 

Oddly enough…

On our recent visit to Bungay in Suffolk we found much to satisfy our architectural curiosity – medieval churches, a market cross, a castle (closed and with the builders in at the time of our visit). But as usual, a casual stroll around the town threw up many less spectacular pleasures. Even so, it was a last-minute impulse that sent me down Chaucer Street, and I’m glad it did, because I found this building in the full-blown polychrome brick style that was popular in the 1860s and 1870s. In that period of architectural showing-off, even a minor building could be as jazzy and eye-boggling as a shopfront from the 1960s.

The frontage bears a large sign saying ‘Masonic Rooms’, giving no doubt about its current purpose. Freemasons have met in Bungay since 1862, when the warrant for the local lodge was issued. Most of us are used to thinking of the Freemasons as a secretive group (though that is much less the case today than it used to be), but the secrecy does not extend to their architecture. In this case, the building stands out proudly from its rather plain red brick and painted brick neighbours. It would be difficult to miss, with its striped archers and patterned stretches of wall in three shades of brick – red, buff, and the shade of grey known in bricky circles as ‘blue’. There’s some stone too, in the gable especially, to add to the rich mix, and the roof is covered in pantiles of two colours. The stone roundel in the gable encloses an octofoil that framed a symbol (perhaps a hand or a coat of arms) that has now worn away.

This building was a small surprise to me, but a bigger surprise ensued when I looked it up in the Suffolk: East volume of Nikolaus Pevsner’s Buildings of England series. According to Pevsner, the structure was ‘apparently built for the Oddfellows in 1910, but its exuberant polychromy looking a good forty years earlier’. So this building, not originally masonic at all, was put up when the architectural fashion was for the curves, swirls and plant motifs of Art Nouveau. Who cares now, though, that the building was behind the times? A big ‘thank you’ to the Oddfellows for being exuberant and colourful.