26 PROJECT REPORT: HERITAGE & CONSERVATION
© Andy Stagg
© Andy Stagg
IDIOSYNCRATIC INTERIORS
The restored late 18th century interiors of the building display Sir John Soane’s mix of his own idiosyncratic design style, and classical influences
© Andy Stagg
owners and occupants in ensuing years – among them, the Walpole family (relations of Spencer Perceval, the only British Prime Minister to have been assassinated). Then, in 1900 the property fell into the hands of Ealing Urban District Council to serve as a public library, and later a small gallery and exhibition space. Jestico + Whiles were first approached by Ealing Council in 2009 who, along with Pitzhanger Manor & Gallery Trust, had put the heritage asset’s masterplan and refurbishment out to competitive tender. “It was fully operating, with people visiting, and the park was in heavy public use. The gallery was also operating with minor exhibitions, but it was all quite dilapidated,” says project architect Jude Harris. Responding to the building’s gradual decay, the council wanted to improve the public benefit of the asset by developing a masterplan which would better integrate the centre into its surroundings, while rehabilitating it with the addition of vital facilities.
A leading theme throughout the design process for the architects was the manor’s “demunicipalisation” which, for Jestico + Whiles, required bold changes to the building. These posed a high risk of planning conflicts; preservationism being the standard for Grade 1 Listed buildings like Pitzhanger. In addition to their respect for Soane’s original design, Harris cites the
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practice’s solid previous experience renovating historic buildings as the factors that carried them through the OJEU process to be selected as managing architects on the scheme.
Masterplan
As the focus of the masterplan, the manor sits at the north-eastern extremity of Ealing’s 12-hectare Walpole Park. The building itself is an amalgam of two designs: The original house, now named the Dance Wing, designed and built in 1768 by George Younger – to whom Soane was an apprentice, and Soane’s rebuild. “We took the view very early on that the house should be restored to how Soane left it in 1810 – modest domestic spaces,” explains Harris. With the expectation of an influx of visitors post- refurbishment, the architects had to install the right facilities to cater for that, “which we chose to locate outside of the manor building,” adds Harris.
In addition to housing the new gallery
spaces, the 1939 library building situated adjacently north to the manor was chosen to contain much of the accommodation necessary to make a cultural centre function; toilets, relocated reception and entrance areas, a shop, and plant facilities for the entire estate such as heating and air conditioning. “This meant that the manor house could be what it was intended to be –
ADF DECEMBER 2019
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