De Beauvoir Town and De Beauvoir Estate are next to each other.
Here is a quick sketch of the very pretty houses on De Beauvoir Square, De Beauvoir Town. A tower block near Dalston Junction is just visible.
Just around the corner is the lovely St Peter’s Church, designed by WC Lockner, 1830s. In the basement of the Church, they serve lunch every Friday.
Then I walked back South, along De Beauvoir Road.
Here is a view looking West. The houses in the foreground are on De Beauvoir Road. In the background is Portelet Court, part of the De Beauvoir Estate, 1960s, Hackney Homes.
I drew Portelet Court as reddish. When I went into the estate to find the name of the block, I saw that the cladding is a dark grey. It only looked red because the sun was setting.
I drew this picture sitting on the pavement on De Beauvoir Road. About an hour. As I was getting up a cyclist stopped. I must have looked a bit awkward. He asked if I was ok. I said yes, puzzled. “I thought you had fallen over” said the cyclist, “you don’t often see people sitting on the pavement.”
The Coastguard Station was completed in 1980 and closed in 2002. It is in the same enclosure as the very ancient Priory, which is managed by English Heritage. I asked in the English Heritage office about the Coastguard Station. She asked what did I want to know. “Who designed it, for example,” I said. She didn’t know.
“I’ve never been asked that question before,” she said.
We stayed at “Tynemouth 61”. Here is the view from the Dickens Room.
In the Laing Gallery I drew some measuring vessels. Quart, pint, half-pint. The pots are painted with dark green and brown paint, very highly glazed. A black line and blue stripe at the top.
Here is the entrance to Preachers’ Court in The Charterhouse. The Admiral Ashmore Building is on the left.
While I was drawing this, Stanley Underhill, a Brother, came to chat. He has catalogued the Charterhouse art collection, he told me. It took him seven years. He wrote a book “Charterhouse Art” which is in the shop.
He told me the dates on the buildings. The Admiral Ashmore Building – 2000. In the background, the building with the castellations, 1840, and the ancient building on the right, 1530.
I drew this picture in a new book, which is 10 inches by 11inches.
The larger size meant that the picture took longer.
Bastion House aka 140 London Wall is a huge modernist monolith, reminiscent of the monolith in “2001 – A Space Odyssey”. I couldn’t find a site to draw the monolith part today, so here is a view at Podium Level, looking West towards the Museum of London.
You see the dark undercroft, walkways and a road to a car park. Also you see the bridge that crosses London Wall.
“London Wall was part of a movement of amazing optimism and faith in the ideology of architectural modernism and its promise of a new built form for the city following the devastation of the blitz. It demonstrates what was possible within the breadth of vision following the Second World War and the new powers of centralised planning control. The London that emerged from the ruins of war was to be the remedy to the haphazard milieu of previous. London Wall emerged as a segment of architectural clarity, symbolic of the efforts of the public body to exercise control over the built environment and crucially attempts on the private sector.”
Architects: Powell and Moya, 1972
Here are some images of the monolith in the film “2001 – A Space Odyssey” (1968) which surely influenced, or was influenced by, architecture of the period.
I recently learned that Bastion House is going to be demolished, along with the Museum of London which is adjacent. That’s why I rushed out to draw it. The building is not listed. Here is the “immunity” listing, which is the reverse of a listing:
I sketched this after a visit to Salters Hall as part of “Open House London”.
Salters Hall is one of the London Livery companies, very ancient. The building was completed in 1976 to the designs of Sir Basil Spence. It was refurbished, with substantial alterations, in 2014. The architects for the alterations were de Metz Forbes Knight. There is a new entrance pavilion added on the East side, and they filled in the “undercroft” or open area that had been created by the 1970s architect. The Hall is off the drawing, to the left. I shall return to draw it.
The garden is open to the public. It will be even more accessible and obvious once the London Wall Place development is done.
No. 1 London Wall Place is in the back of the drawing. It is a development by Brookfields, The original Roman London wall is on the right, partly covered in scaffolding and plastic sheeting.
“London Wall Place is a 500,000 sq ft scheme designed by MAKE” says the website.
Here is a sketch looking towards the Main Gate of The Charterhouse. The building with the curved gables is now the Pavior’s House, which is occupied by the Pavior’s Livery Company:
The Worshipful Company of Paviors moved into a new home in 2010. The Company has a long lease on a Grade 1 listed property formerly known as ‘The Master’s Cottage’ at Sutton’s Hospital in the Charterhouse. The property has been refurbished and is now known as Paviors’ House. – From the website of the Worshipful Company of Paviors, 14 Sept 2017.
Pavior means one who lays paving stones, and the modern livery company retains links with the paving industry.
This drawing was a lot more difficult than I expected. I was very pleased to get all the high walls in the background onto the one page. I liked the way they tower above the lower buildings. And all the architecture is different periods. The Tudor buildings of Charterhouse are on the left.
The drawing took 2hours45minutes.
Here is what it looked like before I coloured it:
Charterhouse have now created notecards using my pictures.
The red tiled roofs are a characteristic of the area. The low roof of the Old Forge is rickety. Mme Sauté cultivates tomatoes in the plastic greenhouse on the left.
Here is Steve’s house. His Audi is parked conspicuously, because he is expecting a visitor, and he told them to look out for the car.
See all the overhead cables. There is a plan to put all these underground: both the electricity and the telephone cables.
On the Sunday I set out to draw a picture of the Old Forge from another angle. An elderly man trundled his walking frame all across the grass to come and talk to me. He described how Steve’s house had previously been the grocer, café and ballroom. There were dances there. The man had a long career. He was the son of the gardener in the château. He had installed electricity in the local town, Limoges. There was a whole narrative about the maquis, which word I couldn’t understand in context. I knew it was a description of the land in the South of France: the dried out grass and low bushes. Then, as he was talking, I remembered it was also the word for a fighting force. He had fought all the way up to La Rochelle. This was Resistance fighters in the Second World War.
I had managed only the pencil outline of my picture.
I finished it on the Monday. By then it was raining.