 Eric Aumonier putting the final touches to The Archer statue, 1940. Image from London Transport Museum. The casual commuter travelling along the High Barnet branch of the Northern Line may notice something a little unusual as they pass through East Finchley station. Come rain or shine, a determined looking figure points his bow and arrow south towards the centre of London and beyond to the line’s terminus at Morden. The Archer sculpture, poised on the eastern wall of the station just above the south bound track, was created by artist Eric Aumonier for the station which had been rebuilt from 1939. The sculpture and the station rebuild were part of the ill fated Northern Heights programme, a plan to upgrade and extend the northern branches of the Northern Line. The Edgware branch was to be extended into Hertfordshire, and the Barnet branch was to have a series of station upgrades. The rebuilding of East Finchley station was the only part of the programme that came to pass, thanks to budget restraints and the outbreak of war in 1939.  The Archer seen acroos the platforms of East Finchley Station. Image from London Transport Museum. The new building replaced the 1867 station which was built for the Great Northern Railway, with the rebuilt station primed for the underground which had been slowly making its way northwards. The initial plan by Leonard Bucknell and Ruth Ellis was revised by Charles Holden, who had been busy with his University of London scheme, another project which was curtailed, leaving us with Senate House. The new station, completed in 1941, did not have the straightforward clarity of Holden’s earlier work along the Piccadilly Line. Partly this is due to the awkward nature of the site, with the station perched on a railway viaduct. However, at platform level, the streamlined platform shelters and glass bridge over the tracks containing offices, reflects the “Speed, Light and Modernity” that Holden and London Transport supremo Frank Pick brought to the network from the 1920s.  The South Wind releif on 55 Broadway, by Eric Aumonier. Image from London Transport Museum. The symbol of the station and Holden and Pick’s vision, would be the 10ft statue, installed in 1940. Eric Aumonier was born into the family architectural sculpture business, Aumonier Studios, founded by his grandfather, in 1899. He studied at the Slade School of Art, and became the chief artist for the family firm. He would be commissioned to provide a relief sculpture of the South Wind for Holden’s 55 Broadway headquarters for London Transport in 1929, and a couple of years later would design two statues set into relief panels for the Daily Express building in 1932.  The Speed Underground poster by Alan Rogers, 1930. Image from London Transport Museum. The Archer was created by using beech timber wood fastened around a steel armature framework, before being covered in reclaimed lead sheets. The bow is made of English ash, and covered in copper and gilt. The symbol of the archer was used to represent the former royal hunting grounds of Enfield that Finchley sits on the edge of, as well as nodding to the concerns of speed and accuracy that Holden and Pick were interested in. Of course the archer motif had also been used by Alan Rogers in his 1930 “Speed Underground” poster for the network. By 1955, the wood used for the original statue had already begun to decay, and it had to be replaced at a cost of £1500, a much steeper price than the £245 paid to Aumonier in 1940.  A sketch of the intended Highgate station with the Dick Whittington statue. Image from Bright Undergound Spaces by David Lawrence. The Archer was just one artwork planned for the Northern Heights stations. A couple of stops down the line at Highgate, Aumonier was asked to design a statue of Dick Whittington for a new station building, but neither were ever completed. The statue at East Finchley, nicknamed Archie, has become a symbol not just of the station, but also of the surrounding area, with the local newspaper also named The Archer. The station building including the platforms and statue was listed in July 1987.
0 Comments
 Pullman Court, Streatham. Image from RIBApix. Frederick Gibberd was born in Coventry on January 7th 1908. Throughout his career, he and his partnership designed a wide range of buildings, including houses, factories, offices, colleges, libraries, hospitals, power stations, airports and even cathedrals. But the one building type he was most associated with was the flat. After gaining his architectural qualifications at Birmingham School of Art he worked for the firm of E. Berry Webber, best known for their municipal projects in the interwar years, but was laid off as the Great Depression meant construction work dried up. Gibberd then travelled Europe, visiting Prague, Vienna and Budapest, studying the new architecture of the time, before setting his own firm and designing a series of innovative speculative apartment blocks in the 1930s.  Pullman Court as featured in The Modern Flat book in 1937. As well as his practical work, Gibberd also provided theoretical weight to the idea of the apartment, a relatively new typology to the British urban fabric in the interwar years. Alongside fellow architect F.R.S. Yorke (who was his roommate at Birmingham), Gibberd produced The Modern Flat, a book that provided a survey of modernist apartment blocks from all over the world, including examples from Britain, such as the Isokon flats by Wells Coates and Kensal House by Maxwell Fry and Elizabeth Denby, as well as three examples by Gibberd himself.  Gibberd's birds eye view of the Pullman Court scheme. Image from RIBApix. The first of those three examples was Pullman Court in Streatham (1935), Gibberd's first major commission, at the age of just 27. The scheme consists of three blocks, two long ones which mirror each other and a taller one at the back of the long, thin plot. The blocks are constructed with reinforced concrete frames infilled with modular panels, the engineering overseen by L.G. Mouchel and Partners. Gibberd arranged the blocks to get maximum light to each apartment, with south-facing balconies and roof gardens on each block as well. The estate also had an open air swimming pool, located at the end of the northern block, now unfortunately filled in. Like many of the new blocks built in the interwar years, it was designed to be occupied by single people or couples, with a range of labour saving devices like refrigerators and fitted kitchens provided.  Two of the Park Court blocks, pictured after completion. Image from RIBApix. Gibberd also designed Park Court (1937), a speculative estate on the edge of Crystal Palace Park in Sydenham, in a similar fashion. The estate has seven blocks arranged in a semi circle on a triangular piece of land between two roads. The ranges are three storey high and contain 54 four-bedroom flats, built with a reinforced concrete frame and brick infill, painted white to fit the modernist ethos, and steel framed windows. Unfortunately this aesthetic was undermined by the mansard roofs added in the 1980s.  The interior of one of the Ellington Court apartments. Image from RIBApix. In the north London suburb of Southgate, Gibberd designed Ellington Court for Wells, Wells and Diplock (1937). Unlike Pullman Court and Park Court, Ellington Court forgoes the bright white render or exposed concrete construction in favour of a more suburban brick finish. Formed of two linked blocks, this building's modernity is saved for its bold concrete balconies and curved cantilever porches, along with its mixture of horizontal and vertical window strips. Unfortunately this careful detailing has been somewhat undermined by the exterior service pipes (stipulated by the council in the original planning agreement) and the more recent additional penthouse floor.  The Lawn, Harlow. Image from Conway. In the post war years Gibberd’s firm expanded greatly, designing larger and more complex projects all over the country. However, one of his most notable projects in immediate post war years was another flat design, The Lawn at Harlow New Town (1951). Gibberd was the master planner of the new town in Essex and designed much of the housing. The Lawn was the first point block in the country, with the flats, specified for single people and couples, arranged around a central service core. The flats were also arranged in a butterfly plan, allowing every apartment a south facing living room. His partnership would design a range of estates in the post war years featuring tower blocks and lower rise ranges of flats with schemes found in Hackney, Stoke Newington, Enfield, Leamington Spa, Harlow and elsewhere. Gibberd's career would also include prestigious projects such as Liverpool Metropolitan Cathedral, Didcot Power Station and Heathrow Airport, but it was with the humble flat that he had his biggest influence. Pullman Court, Park Court and Ellington Court are all featured in our Speculative Suburban Apartments mini guide alongside many other examples from all over suburban London. Get you copy right HERE
 The De La Warr Pavilion in Bexhill on Sea, East Sussex was officially opened on 12th December 1935 by the Duke and Duchess of York (the future King George VI and Queen Elizabeth). It had been commissioned by Herbrand Sackville, the 9th Earl De La Warr, who despite his title was an ardent socialist and the mayor of the town. He wanted a new building to include public entertainment and education facilities, and a competition was announced in the February 1934 edition of the Architects Journal, calling for entries. Over 230 were received with Thomas Tait of Burnet, Tait and Lorne acting as the assessor.  Plan of the ground floor of the De La Warr Pavilion The winning design was produced by Serge Chermayeff and Erich Mendelsohn, during their brief partnership in Britain. Chermayeff was born in Grozny, before his family moved to Britain and he was sent to attendHarrow School. After completing his further education in various European countries, Chermayeff worked as a journalist and a designer, and then trained as an architect. Mendelsohn was one of the most prominent figures in European modernist design in the first decades of the 20th century, producing designs throughout Germany and also in the Soviet Union. He fled Nazi Germany for Britain in 1933, and went into partnership with Chermayeff.  The staircase and hanging light feature, as seen from below. Image from RIBApix. The design the pair produced is one of the finest International Modernist buildings in Britain. It caused somewhat of a scandal when it was chosen by Tait, with a public enquiry called to examine how such a brazenly modernist scheme was chosen. But it was built, with only a few modifications, a vision of the future among the Edwardian townscape of Bexhill.  The auditorium. Image from RIBApix. It consists of a two section building, joined in the middle by curved, projecting glazed staircases. The western half contains an assembly hall, with the eastern half originally housing a dance floor, library, conference hall, restaurant and a terrace area, spread out over two floors. The interior also features furniture designed by Alvar Aalto and a mural by Edward Wadsworth. The structure of the building consists of a welded steel frame, overseen by engineer Felix Samuely, with the concrete walls covered in smooth white render. The south staircase was designed with a long hanging pendulum light, designed by Chermayeff, (although reminiscent of Mendelsohn’s Trade Union Building in Berlin).  The sun terrace. Image from RIBApix. Despite the public enquiry, the building was well received in the architectural press of the time and later. In the Buildings of England volume for Sussex, Ian Nairn called it “exhilarating”. Unfortunately the building was somewhat neglected and had fallen into disrepair by the 1970. In 1986 it was given Grade I listing, a high honour for a 20th century building, and a couple of years later a trust was formed to protect and renovate the pavilion. Over a decade later the Heritage Lottery Fund granted £6 million for its restoration and modernisation, reopening as an arts centre in 2005. A further £17 million has just been budgeted for further upgrades, including refurbishing the auditorium and upgrades for the 21st century.
Anatomy of a House No.24 |
Archives
October 2025
Categories |
RSS Feed