Fascinating talk. Happily I see Munstead Wood has been purchased by the National Trust which is now restoring the house and gardens. The hope is it will open in 2025 for public visits and will be there for all to enjoy in perpetuity.
One quick correction, as to Robert's question: a 54 degree roof slope is closer to 16 over 12. Thanks for another great video! I need to visit these projects of his some day.
I'd be interested to learn more about Cyril Wontner Smith, Based on the Tavistock Square elevation, he was clearly very familiar with Lutyens' design language and some of his distinguishing details, such as his 54 degree roof pitches, massing of bays, secondary limestone trim beneath window corbels, etc. Did he ever work in Lutyens' office, or correspond with him on the design?
very good video If in London -- one of his monuments can be seen between Downing st and Trafalgar square --- cenotaph war memorial -- every year monarch attends a ceremony at the sight ///// wikipedia notes not me ---- ticked video thanks ... Before the end of the First World War, he was appointed one of three principal architects for the Imperial War Graves Commission (now Commonwealth War Graves Commission) and was involved with the creation of many monuments to commemorate the dead. Larger cemeteries have a Stone of Remembrance, designed by him.[18] The best known of these monuments are The Cenotaph in Whitehall, Westminster, and the Memorial to the Missing of the Somme, Thiepval. The Cenotaph was originally commissioned by David Lloyd George as a temporary structure to be the centrepiece of the Allied Victory Parade in 1919. Lloyd George proposed a catafalque, a low empty platform, but it was Lutyens' idea for the taller monument. The design took less than six hours to complete. Lutyens also designed many other war memorials, and others are based on or inspired by Lutyens' designs. Examples of Lutyens' other war memorials include the War Memorial Gardens in Dublin, the Tower Hill memorial, the Manchester Cenotaph and the Arch of Remembrance memorial in Leicester.
Forgive me for saying, but surely it’s much more inspired by houses of the William and Mary period than Georgian? I can’t see that this house fits into what you’d normally think of as Georgian? It is beautiful, but given the money I’d be looking for an original rather than a copy much though I admire it :-)
Thanks so much, that was very interesting. I can’t help thinking that these labyrinthine circulation routes, from entrance to destination, are also based on the assumption that guests would be greeted by staff at the front door and guided to their destination.
My employer had a series of books on Lutyens, an encyclopedia of his work. I worked on a house for 5 years based on Lutyens with Lutyens chimneys. In 1983 the house was completed for $500.00 per square foot.
Impressive as it is, I am glad the cathedral was never built; and remains a glorious might have been. The experience is sufficient for me to imagine a virtual perambulation through the building, with stately music quietly playing, the candles gently flickering, all present stunned into silence
I visited the garden some years ago and it was astonishing. It made me think that Vita Sackville-West would have loved it, it's the twin expression of her "cram, cram, cram" philosophy at Sissinghurst- did she ever visit?
I’m glad it wasn’t built. It’s an albatross. The Anglican Cathedral also a maintenance nightmare. Can anyone even imagine the cost to heat these piles? Can you? And look at the age we’re in now, it’s entirely too big. We need to all get together at one cathedral, and get over our “mine is bigger than your’s” which has absolutely nothing to do with Christ. As much as truly appreciate this architect, I see the this design more of a train station, and even then, it’s still a maintenance nightmare. The model is magnificent in own right. I firmly believe God is Well Pleased in this model. In a way, the design was materialized to size All Peoples of many ages can enjoy in wonderment. Even Whitemarsh Hall was too big to maintain. It would’ve been made a magnificent model for all the ages. No, I think this model is its own Reliquary. I’d rather have it in the end.
I was lucky enough to visit Drogo many years ago, and it made huge impression on me. A previous comment used the word 'sublime ' . I concur with that. Thanks for making these videos and allowing me to revisit.
Thank you very much for posting this. An interesting ‘chalk and cheese’ architectural juxtaposition. It’s fascinating and great to gain further insight into some of the detail of Lutyens’ designs for Drogo. I personally feel it’s one of the most important early 20th century domestic buildings in the UK. His thought processes, attention to detail and oversight of execution are remarkable. The building is sublime and sits in the wonderful Dartmoor landscape as though it might have been there for a thousand years. I’ve know Drogo since making a collage field trip there is the 1980’s and I’m now lucky enough to live near by which allows me to visit regularly. It never ceases to impress me. 😊
That was fascinating, thank you so much. I’m always interested in learning more about the mechanics of these great county houses. That Lutyens was able to lavish so much attention on these functional spaces is also a testament to great clients willing to foot the bill, and the great craftsmen able to realize his designs. Hanks again, great presentation.
Terrific talk. I appreciate how William was able to interpret classic details into design ideas for modern living. I’ve never been a fan of open concept living. Give me multiple rooms for specific functions any day!
I don't get his double door design. I think it is insulting to the clients. Their guests should be sure where to go, without a sign or an obsequious servant pointing the way.
Lutyens was designing for clients that wanted their houses to appear larger and more impressive. His homes are not on the scale of the massive country houses such as Castle Howard. Thus, the entry into the houses was designed as a experience or a journey. Typically, visitors would not enter the home without a member of the family or a servant to guide them. The disorientation of the double doors is quickly replaced by a sense of arrival and welcome in the reception rooms such as the drawing room or dining room
Thank you for this very informative webinar- it is such an extraordinary history. Is it possible to get more information on the original and replacement mortar formulation? Thank you. - Matthew J. Mosca
