Difference between revisions of "Battersea Town Hall"

Latest revision as of 14:44, 12 September 2020

Battersea Town Hall
Surrey
Battersea Town Hall
Type:	Art gallery
Location
Grid reference:	TQ27867561
Location:	51°27’54"N, 0°9’39"W
Town:	Battersea
History
Address:	Lavender Hill
	Built 1891-1893
For:	Battersea Vestry by Edward Mountford
	Art gallery
	Edwardian Baroque
Information
Owned by:	Wandsworth Council

Battersea Town Hall, originally the New Parochial Offices, Battersea, is a Grade II* listed municipal building in Battersea in northern Surrey, designed by Edward Mountford and erected between 1891 and 1893 by the Battersea vestry to provide public halls and office space for its staff.

The building served for 72 years as the hub of municipal Battersea until the centre of local government was moved to neighbouring Wandsworth in 1965, after which it was turned into a community and arts centre, latterly known as the Battersea Arts Centre.

History

Background

A requirement for a town hall arose in Battersea in 1888, when the Battersea vestry regained its autonomy from the Wandsworth District Board of Works: prodigious population growth in Battersea over the preceding 30 years turned a small parish authority into a substantial municipal body able to regulate its own works. The Wandsworth board had since 1858 operated locally from a relatively small Georgian property, Mellish House, at 68A Battersea Rise, but the vestry considered it too small to house its then 120 staff; it aspired to a building providing halls capable of seating 1,500 and 300 people, as well as a boardroom for the vestry board and offices for churchwardens, overseers and staff.^[1]

Battersea's ambitions were an expression of the civic pride of newly autonomous urban and provincial governing bodies. The new town hall, originally named the New Parochial Offices, Battersea, was built in a British Neo-Renaissance aesthetic blended with Arts and Crafts and vernacular elements.^[2].^[3] Battersea Town Hall is cited as one of the most accomplished examples of the new metropolitan town halls; a trend away from parsimony characterised by modest structures with minimal decoration, towards appreciable municipal architecture.^[4]

Development

OS map of Lavender Hill c.1869. Elm House and grounds, the site of the Town Hall, is the rightmost yellow-shaded area

Although initial consideration was given to the proposed hall in 1888, it was not until 1891 that the vestry decided to act on their ambitions and to allocate a budget of £42,000 to the project. Eight sites were considered, all south of the main east-west railway lines that divide the parish. The vestry decided upon the purchase of Elm House, a villa with a small wooded estate on Lavender Hill, previously the home of Jane Senior, and which was close to their Lavender Hill Library building, as the site for the new hall.^[5][6]

A competition was held to solicit designs for the proposed hall, to a brief drawn up by J. T. Pilditch, the vestry's surveyor, and with William Young, architect of the Glasgow City Chambers resident at nearby Putney, acting as judge. Young awarded the design project to Edward Mountford, who lived locally and was already well known to the vestry as architect of the 1889 ‘Early French Renaissance’ style Lavender Hill Library,^[7] and of Battersea Polytechnic. His credentials were good; he had also succeeded in a similar competition to design the much grander Sheffield Town Hall.

Work commenced in the winter of 1891-2. Two foundation stones date the main construction phase to a 7 November 1892 start, and the building was opened - if not entirely completed - by the same time in 1893, by Lord Rosebery.^[8]

Description

New Parochial Offices, Battersea (from The Builder, 1891)

Eastern side-elevation

Plan of the ground floor

The imperial staircase

Staircase and first floor corridors

The town hall is built on a sloping site falling northwards from a 160-foot frontage on Lavender Hill. The building extends 293 feet northwards, divided into two essential parts; a front 2-storey municipal building with council chamber and offices; and at the rear a series of public halls. The building is offset to the west of the site, Mountford electing to build a road forty feet wide to the east of the building to provide easy access to the public halls.

In a communication to The Builder, Mountford described the design intention as "essentially English Renaissance, though perhaps treated somewhat freely", and set out a series of principles for the building:^[9]

• The good approaches to all parts of the building, especially the public hall
• The corridors are wide and well lighted from the central court, while the principle staircase and entrance are lighted from above
• The compactness and convenient arrangement of offices for various parish purposes
• The prominent position assigned to the council chamber and the accompanying committee rooms and member's library
• The means of completely disconnecting the public hall and its accessories from the other parts of the building, when let out for bazaars and other purposes
• The thoroughly well lighting of every part of the building.

To the functional layout of the building, Mountford introduced what were for him was a signature feature: the blending of the architectural with sculpture and painting. Woodwork panelling, floors and dado rails are of oak; highly decorative ceilings and friezes in the council chamber and the grand hall of fibrous plaster were provided by Gilbert Seale of Camberwell. Floors feature mosaics with emblematic bees, signifiers of the industry of the parish, by Rust's Vitreous Mosaic Company of Battersea. Relief sculptures by Horace and Paul Montford adorn pediments at the front and side of the building; to the east, Labour and Progress; to the west, Art and Literature, and in the centre, Justice and Prudence flank the crest and arms of the Parish, and Authority and Relaxation (alternatively called Government and Entertainment) feature to either side of the first-floor central window, personifications of the twin purposes of the building. Putti (cherubs) feature on the main entrance spandrels and the lunettes of windows and doors. An elaborate curved frieze featuring cartouches, swags and more putti adorn the staircases - themselves in Devonshire and Sicilian marble. The glass dome above the octagonal hall features a garden-pattern in shades of yellow.^[10]

Mountford's design provided a symmetrical building frontage 112 feet long in Monks Park (Bath) stone and red Suffolk bricks, with five central bays including a semi-circular Ionic portico, and single bay pavilions with curved-corners to left and right. At the front, upper windows are in a Venetian style, whilst the lower windows have rusticated or Gibbs surrounds.^[11] The building has hipped roofs, originally of Westmoreland slate, incorporating turrets of oak covered with copper and surmounted by wrought iron.^[12]

Within the ceremonial front block of the hall, an imperial staircase rises to a gallery on three sides; the council chambers and a public viewing area, a committee room and members' library occupy the front of the first-floor space, and a series of offices are provided along the east and west of the ground-floor of the block. A small courtyard serves as a light-well.^[11]

To the rear of the main block, proceeding down the hill, are three halls: the main Grand Hall, beneath which is a smaller Lower Hall, with a glass-domed Octagonal Hall linking these to the front municipal block. The Grand Hall is a 43,000 square foot space with an arched ceiling rising to 34 feet in height, adorned with decorative plasterwork and ventilation grilles. At the northern end, a platform stage is fronted by a highly decorated proscenium. Wide corridors run along the east and west of the hall, above which are large arched windows providing the hall with ample daylight.^[13]

Further development

Embellishment of the buildings continued after their opening; the building was closed for three months in 1897 to enable plasterwork to be painted and gilded, and before that in 1894 full-sized plaster maquettes of three of William Calder Marshall's sculptures were installed: Dancing Girl Reposing, Zephyr and Aurora, and Eurydice - the last since lost (by Wandsworth council, upon its transfer to their town hall). In 1895 a glass and iron porch was built to provide shelter outside the Grand Hall entrance.^[14]

Perhaps the single feature neglected by the vestry during the original construction was the installation of an electric lighting system; in 1896-7 a 100 V system was retrofitted, served by a dedicated generator, and in 1901-2 a higher voltage system served by the borough's Lombard Road power station was introduced.^[15]

Additions were made at the time of incorporation of Battersea as a 'metropolitan borough' in 1900, in the form of an additional refreshment room catering for up to 400 people, as well as additional office space; provision for these had been made in the original plans, although practical difficulties necessitated compromises in providing adequate access to the new rooms. J. T. Pilditch served as architect for these modifications.^[14]

In 1901 a large pipe organ was installed in the Grand Hall by Norman and Beard, under the direction of Hugh Blair, the borough's Director of Music. This was an unusual instrument thought to be designed by Robert Hope-Jones, a pioneering organ builder who invented many aspects of the modern pipe organ, and whose ideas went on to form the basis of the Wurlitzer theatre organ in the 1920s and 30s. The console was situated at the front of the Grand Hall's stage, on rails allowing it to be hidden when not in use; organ pipes were arranged in five oak cases manufactured by borough carpenters.^[16]

In 1920, a permanent projection booth was installed in the Grand Hall gallery, to replace portable cinematic equipment which had been employed since 1899.^[17]

Repurposing as Battersea Arts Centre

The Town Hall under Battersea Arts Centre management

Rear elevation of Battersea Town Hall

Local government reorganisation in 1965 dissolved the Borough of Battersea and placed its functions and assets with an expanded Wandsworth council, operating from its town hall. In 1966-1967, the new council sought to replace to replace the front section of the building and the adjoining Shakespeare Theatre with a combined library, swimming pool and carpark, an idea successfully rebuffed by a combination of the Victorian Society and a new Battersea Society, as well as Nikolaus Pevsner and John Betjeman (who thought Battersea a much finer building than Wandsworth's grey town hall). The Grand and Lower Halls continued in use as community halls.^[18]

The council next sought to find tenants for the building, entering into discussion with the Department of the Environment, which was in the market for a new location for a criminal court, and with the Institution of Production Engineers; but these came to nothing. A working group led by local councillor Martin Linton was established in 1972, which recommended the re-opening of the main building for "social, community and artistic purposes"; and with sponsorship from Hugh Jenkins, then Minister of Arts, this was achieved in 1974 - entailing more minor changes to the fabric of the building to accommodate the various groups and purposes involved. The new arts centre ran for five years, closing in 1979, but re-opened in 1980 as the Battersea Arts Centre, in whose custody the building remains.^[19]

The Arts Centre made a number of amendments to the building; notably, converting the council chamber to a theatre by the removal of its bespoke furniture; creating a café in what was the borough surveyor's office and of a cinema in the former drawing office. The members' library has become a gallery and the town clerks' office as a performance studio space.^[20] BAC's changes to the fabric of the building have been minimal,^[20] and more recent changes have emphasised the preservation and representation of original features.^[20]

The Grand Hall was extensively damaged by fire on 13 March 2015, but has been rebuilt. The hall's elaborate ceiling was entirely destroyed, and has been replaced by suspended wooden tracery patterned on the lost decorated plasterwork.^[21] The charred remains of the hall's wall panelling have been left in place. This innovative approach, together with other interventions by architects Haworth Tompkins, has created a building which The Guardian, including the town hall in its list of the Top 10 buildings of 2018, described as a "magical place that revels in the rich patina of its history.^[22][23] Steve Tompkins, architect of the Battersea Arts Centre redevelopment, was named the most influential person in British theatre in the 2019 The Stage 100 listing, in part for his work at Battersea.^[24]

Heritage listings

Detail of cartouches, swags and putti in the Grand Hall frieze

Battersea Town Hall is a Grade II* listed building: its entry (in 1970) adduces four reasons for the decision:^[3]

• Architectural interest: a handsome and well-preserved example of late-C19 municipal architecture with extensive relief sculpture and decorative treatment
• Designer: a notable work by EW Mountford, a distinguished figure in late Victorian/Edwardian civic architecture
• Interiors: for the survival of elaborate public rooms, in particular the monumental stair hall, council chamber, octagonal lobby and public hall
• Historic interest: it illustrates the transformation of London's antiquated vestry system into modern local government, and is one the most ambitious manifestations of this new-found civic pride and local identity; also as the seat of one of London's leading Progressive authorities, where Britain's first black mayor, John Archer, was elected in 1913.

The town hall lies within the Town Hall Road Conservation Area, a 1989 designation made by Wandsworth Council under the Civic Amenities Act 1967 to safeguard an area identified to be of “special architectural or historic interest.”^[25]

("Wikimedia Commons" has material about Battersea Town Hall)

References

Mosaic bee floor tiling

First floor corridor in Battersea Town Hall

• Saint, Andrew, ed (2013). "1. Public Buildings". Survey of London, Volume 49: Battersea: Public, Commercial and Cultural. Yale University Press. ISBN 9780300196160. https://www.ucl.ac.uk/bartlett/architecture/sites/bartlett/files/49.1._public_buildings_chapter.pdf. 
• Thom, Colin, ed (2013). "10. Lavender Hill: Introduction". Survey of London, Volume 50: Battersea: Houses and Housing. Yale University Press. ISBN 9780300196160. https://www.ucl.ac.uk/bartlett/architecture/sites/bartlett/files/50.10_lavender_hill_intro.pdf. 
• Conservation Management Statement Battersea Arts Centre. Battersea Arts Centre. 2008. http://playgroundprojects.bac.org.uk/system/resources/BAhbBlsHOgZmSSJCMjAxMy8wNC8yMS8xNV8wMV8wNV82NjJfQ29uc2VydmF0aW9uX01hbmFnZW1lbnRfU3RhdGVtZW50LnBkZgY6BkVU/Conservation%20Management%20Statement.pdf. 
• Donald, Robert, ed (1905). The London Manual for 1905. London: Edward Lloyd Ltd. https://archive.org/details/londonmanualfor00donagoog/page/n6. 
• Smith, Joanna (1998). London's Town Halls. English Heritage. https://research.historicengland.org.uk/Report.aspx?i=15873&ru=%2fResults.aspx%3fp%3d1%26n%3d10%26t%3dLondon%2527s%2520Town%2520Halls%26ns%3d1. 
• Statham, H. H., ed (19 December 1891). The Builder. 61. https://books.google.co.uk/books?id=EkscAQAAMAAJ&printsec=frontcover&redir_esc=y#v=onepage&q&f=false.