at St. Martin-in-the-Fields Church London · St. Martin-in-the Fields is perhaps one of England's...

The Renewal Project at

St. Martin-in-the-Fields ChurchLondon

by

Mark Lomas19038493

MSc Technical Architecture. 26-7127-00S Conservation & Design. --1– Mark Lomas 190384931. East Window by Shirazeh Houshiary

The Renewal Project at St. Martin-in-the-Fields :

Introduction :

St. Martin-in-the Fields is perhaps one of England's most significant 'working' churches. From its tirelessmission to support the homeless to its renowned free lunchtime Chamber Music recitals, it touches the livesof more than 700,000 visitors per year. Located at the very centre of the capital, in a corner of TrafalgarSquare, the site's religious and spiritual significance stretches back on an unbroken continuum for almost twomillennia.

The Church by James Gibbs, along with its associated buildings and surroundings by John Nash, has enjoyed amajor restoration and conservation effort over the last decade. In addition, significant modern additions andinterventions involved the sensitive removal of works by a major architectural figure from the Victorian era.

This £35 million project, completed in 2008, involved Eric Parry Architects winning the commission. The taskwas both to respect the past and also to look to present needs. As Parry himself explained, “Working on abuilding like St. Martin's is like talking to Gibbs, to history. You have Gibbs on one side of the square and Nashon the other. It's a conversation and you can take part in it.” 1

Numerous awards suggest that the architects successfully balanced past, present and future. Woodmanprovides an apt summary of, and introduction to, their achievement. “Faced with a fantastically complex setof challenges, it has somehow maintained a real singularity of vision throughout. Integrating architecture newand old, art commissions, landscape design, a high level of technical invention and a hugely optimistic socialprogramme, it is a scheme as impressive as any in central London in decades.” 2

This report analyses the conservation and restoration of St. Martin-in-the-Fields. By outlining both the historyand significance of the church and site, along with a breakdown of the works carried out, it attempts tocritically appraise the success of the project in the context of accepted modern conservation principles..

A conservation project such as this necessarily bears the weight of so much documented history. Eric Parry,Royal Academician, clearly understands this. “Every site you build on in London is tainted, haunted byghosts.”3

We can look back to accounts from 1556-57 and know the cost of “two clamps of yron to ffasten thepowlpett to the pyller,” or to 1596-99 and “the Taking Downe of Peeres and Arches of Stone that the Peoplemay the better here the preacher.” 4 Future historians, likewise, will analyse our own age's conservationefforts, and perhaps the future bears down on the architectural team as heavily as does the past.

1 Heathcote, E., (2008) The Londoner. [Online] Financial Times Online. <http://www.ft.com>2 Woodman, E., (2008) Eric Parry's St. Martin-in-the-Fields Makeover. [Online] BD Online. <http://www.bdonline.co.uk/>3 Heathcote, E., (2008) The Londoner. [Online] Financial Times Online. <http://www.ft.com>

MSc Technical Architecture. 26-7127-00S Conservation & Design. --2– Mark Lomas 19038493

2. Aerial View

3. 3D Sketch showing main elements

Significance :

The present Baroque church is from a seminal period in the history and development of architecture.However, an earlier Mediaeval church stood on the site, and burial remains were found from both theRoman and Saxon periods. In order to appraise the project, it is necessary to first understand the significanceof the site.

A. Historical Significance

i. St. MartinSt. Martin of Tours is the patron saint of beggars and soldiers. He was born in 316 AD in Pannonia,part of present-day Hungary, and was required by law to serve in the Roman Army. At eighteenyears of age, while posted at Amiens, France, he entered the city one winter night and saw analmost-naked beggar. Martin cut his cloak in two to share it with the beggar. That night, Christappeared to him in the form of the beggar. Martin rushed to be baptised.

Martin's Christian beliefs were at odds with his career as a soldier. He founded a monastery on anisland near Milan, and led the ascetic life of a recluse. Here, he is said to have performed the first ofmany miracles.

On the death of the Bishop of Tours, Martin was pressed into becoming Bishop, but rejected the offer of a Bishop's Palace and insisted on retaining his ascetic life by continuing to live in a monastic cell. He converted many people to Christianity until his death at 80 years of age in 396 AD. 5

ii. Roman RemainsAt around this same period, the body of a middle-aged man was being buried in a limestonesarcophagus on the outskirts of Londinium. The sarcophagus lay there until, more than a thousandyears later, Victorian workers are thought to have discovered it and taken the skull while building asewer. They left the sarcophagus otherwise undisturbed until it was unearthed during the recentrenovation of St.Martin-in-the-Fields.

The sarcophagus not only illustrates the continuity of sacred use of the St. Martins site, but is also,along with a tile kiln from this late-Roman period, discovered nearby, sufficiently significant to “redrawthe map of Roman London studies.” 6

iii. Saxon RemainsA conservation/restoration project such as this provides a significant opportunity for archaeologicalstudy. In addition to the late Roman finds, specialists from Museum of London Archaeology Service(MoLAS) made a number of discoveries from the Anglo-Saxon period. These included five gravesand grave goods including gold, silver and amethysts.

iv. Mediaeval RemainsSometime after the Norman invasion of 1066AD, a church was built on the present site, and namedfor St. Martin. Adjacent to the main route heading West from the City of London (now the Strand),the church sat in open farmland and so was named St. Martin-in-the-Fields. By 1200AD, this was onrecord as a parish church. 7

Historical details on this Mediaeval church are sparse until 1525, at which point, “the windowscontained some coloured glass.” 8 Later works appear to have left little more than the dozen or somediaeval burial remains uncovered by the MoLAS archaeological team.

v. Tudor Church References differ in their account of Henry VIII's contribution to the St. Martin-in-the-Fields. British

4 'The church of St. Martin-in-the-Fields: Description', [Online] Survey of London: volume 20: St Martin-in-the-Fields, pt III:Trafalgar Square & Neighbourhood (1940), pp. 19-30.

5 St. Martin-in-the-Fields. (2009). [Online] <http://www2.stmartin-in-the-fields.org/page/aboutus/history.html>6 St. Martin-in-the-Fields. (2009). The Renewal of St. Martin's : Campaign Update Spring 2007.[Online] <http://www2.stmartin-

in-the-fields.org/>


4.. St .Martin of Tours

5. Mediaeval Map showing church location

6. Gravestone in Crypt café

History Online states that Henry extended and substantially altered with brickwork the existing“rubble” church in the latter years of his reign.9 The church's own account states that Henry “built anew church” in 1542.10 Both are agreed on his main motive, however. Parish boundaries were movedin order to prevent the corpses of plague victims from being transported through Henry's WhitehallPalace (which straddled both sides of the road) to the Church of St. Margaret.

St. Martin-in-the-Field therefore benefitted from the wholesale masterplanning changes that Henry was making to the area around Whitehall and St. James's Park after his dissolution of the monasterieshad gained for him large parcels of land. Notably, almost 300 years later, Nash's masterplanning of Victorian central London positioned the church at the corner of one of the city's most prominent public spaces.

British History Online provides information on the design and construction of this church, which wasfurther enlarged in 1607 at the cost of Prince Henry, son of James 1.

vi. Post-1666... In an era where non-attendance at church was a punishable offense, two factors increased pressureon London's churches. The Great Fire of 1666 destroyed 87 of the city's parish churches, and alsothe capital's population was increasing with the burgeoning Empire. St. Martin-in-the-Fields needed tobe relieved by a subsidiary chapel at Oxenden Street from 1678.

When St. Martin's was surveyed by master craftsmen in 1710, it was noted that the rubble wallswere spreading from the weight of the roof, and they reported, “Wee are also of opinion that thesaid Church cannot be supported by repairing but must be rebuilt.” 11

In 1711 the Tory Government passed the Act for Building Fifty New Churches in London, the so-called 'Queen Anne Churches,' of which a dozen were actually built. After petitions to the Queen, and negotiations with the Commissioners for Rebuilding Churches, an act was passed in 1720 for rebuilding St. Martin-in-the-Fields Church, “to a sum not exceeding £12,000, to be raised by a rate

on the parishioners.” 12

B. Architectural Significance

i. Fifty Churches – Wren and HawksmoorOne of these Commissioners, from 1711-18, was the elderly Sir Christopher Wren. It is notable thatboth of Wren's wives, and his son, had been buried at St. Martin's, and so it is fair to say that thegreat man would have had a special interest in the new St. Martin-in-the-Fields project.

Wren's prodigal pupil, Nicholas Hawksmoor, was one of two Surveyors to the Commission, andfamously designed six of the new churches between1712 and 1716. He was the natural successor toWren as the prestigious Surveyor-General of the King's Works. Hawksmoor, of humble-birth, in turnpassed on his prodigious knowledge to the rich amateur, Vanbrugh, and this famous trio of Wren,Hawksmoor and Vanbrugh passed into history as the leading lights of the English Baroque period.

ii. James GibbsUnlike Hawksmoor and Vanbrugh, however, James Gibbs had studied architecture in Rome, underthe Baroque master Carlo Fontana, after giving up his studies for the priesthood. Although 23 yearsHawksmoor's junior, this up-to-date Continental professional training brought Gibbs to the fore, andhe was appointed in 1713 alongside Hawksmoor as Surveyor to the Commission.


8 Ibid.9 'The church of St. Martin-in-the-Fields: Description', [Online] Survey of London: volume 20: St Martin-in-the-Fields, pt III:

Trafalgar Square & Neighbourhood (1940), pp. 19-30. 10 St. Martin-in-the-Fields. (2009). [Online] <http://www2.stmartin-in-the-fields.org/page/aboutus/history.html>11 'The church of St. Martin-in-the-Fields: Description', [Online] Survey of London: volume 20: St Martin-in-the-Fields, pt III:

Trafalgar Square & Neighbourhood (1940), pp. 19-30. 12 Ibid.


7. The Old Church

Gibbs's first important church design was St. Mary-le-Strand, built 1714-17. Watkin remarks, “One ofthe most exquisite small churches in London, it is an extremely personal statement in a language thatderives from Wren and even Jones, for example its two-storey elevation, but spoken with a markedlyItalian accent.” 13

Watkin highlights a further important distinction of much of Gibbs's work, commenting that “it avoids the large, massing characteristic of Vanbrugh and Hawksmoor, and returns to the smaller-scale surface patterning more typical of Jones, which is a recurrent feature of English architecture.” After Jones, he then draws a comparison with Wren in the “exceptionally delicate” tower, which, incidentally, was not part of Gibbs's original design and was only added after the death of Queen Anne.14

iii. End of the Baroque eraThis was a major transitional phase in English history, however, and Gibbs, most of all, was on thewrong side of history. Queen Anne died in 1714, and along with her the Stuart period. As George 1,Elector of Hanover, succeeded to the throne, the changing political climate was mirrored inarchitecture. “... at this moment a group led by Colen Campbell and Lord Burlington made clear itsintention of putting the clock back exactly a hundred years by purifying English architecture of allBaroque extravagance in an act of homage to Vitruvius, Palladio and Inigo Jones..” 15

The Tory Gibbs was dismissed by the ascendant Whigs from his surveyorship in January 1716. Wren was removed from the Commission in April 1718 on the pretext of failing health, and replaced not by Hawksmoor but by the amateur, William Benson, who then sidelined Hawksmoor from further key positions in favour of his brother.

Wren was soon dead. Hawksmoor became Surveyor to Westminster Abbey and worked with Vanbrugh on major commissions at Blenheim Palace and Castle Howard. Gibbs's later career included the Radcliffe Camera at Oxford, which developed Hawksmoor's original ideas, themselves inspired by an earlier Wren project for a mausoloeum for Charles 1. However, it is fair to say that these Baroque masters ended their careers relegated to provincial one-off projects. Gibbs, the Catholic, was even excluded from Campbell's 'Vitruvius Britannicus' and might well have disappeared from history altogether.

In 1720, however, Gibbs received one final church commission. For reasons unclear, a predominantlyWhig committee invited him to design the new church for St. Martin-in-the Fields.

iv. Gibbs' Design for St. Martin-in-the-FieldsGibbs's original design had a circular nave based, according to Watkin, on a 1693 design by AndreaPozzo. According to BHOL, he submitted two circular designs that he deemed “more capacious andconvenient”16 than the final design, which was selected on the basis of cost.

The church, as built, cost £33.661 16s 7 !d including the architect's fees and was built between March 1722 and December 1724.

This church had huge significance over the next century, influencing the design of Anglican churchesaround the expanding Empire. Compared to Hawksmoor's churches at Limehouse and Spitalfields,for example, whose spires were distinctly classical in their inspiration, Gibbs created a finer steeple“in an attempt to recreate the effect of a Gothic spire in classical terms.” 17 Gibbs's Book ofArchitecture, published in 1728, was hugely successful and influential, and exported this developmentto the American colonies and the West Indies. As architecture stepped backwards to a Palladianpurism, perhaps Gibbs was anticipating, or influencing, the rise of the neo-Gothic in the followingcentury.

13 Watkin, D., (1979) English Architecture : A Concise History p121.14 Ibid., p12115 Ibid., p12416 'The church of St. Martin-in-the-Fields: Description', [Online] Survey of London: volume 20: St Martin-in-the-Fields, pt III:

Trafalgar Square & Neighbourhood (1940), pp. 19-30. 17 Watkin, D., (1979) English Architecture : A Concise History p123.


8. Gibbs's original circular design 9. St. Mary-le-Strand10. James Gibbs11. The Radcliffe Camera, Oxford.

v. Regency/Victorian PeriodsHistory itself played a large part in this little church's significance. As power oscillated between theold City of London to the East, and the nascent Westminster parliament to the West, St. Martin's, nolonger in the fields, became the most central and prominent of parish churches.

It can be argued that the other churches by Wren, Hawksmoor and Gibbs became churches en route.Stretching East through the city and out to Limehouse, they are strung like pearls on a tarnishedanchor chain. St. Mary-le-Strand and St. Clement Dane's are referred to as the 'island churches' andit is fair to say that they were all largely by-passed, some literally, by history and commerce. However,when Nash's masterplan for the area around Trafalgar Square included St. Martin's, he positioned itat a destination, a place to celebrate a famous victory that continues to this day to attract the fourthlargest number of visitors in the world.

Eric Parry credits John Nash's “expert understanding of landscape composition” for the “inflection inplan between church and square” 18 which in the 1820's gave the church such a prominence. In 1813, also, an Act of Parliament had acknowledged its significance by specifying the extension of Pall Mall as far as the church's portico, “amplifying the building's three-dimensional form as seen by the monarch when approaching the church from the west.” 19

Gibbs' church had further influence on important designs nearby. In 1835, the new National Gallery was built “without a grand flight of steps in front, as this would encroach on the vista from Pall Mall to St. Martin's.”20 Later, in 1843, the design of Nelson's Column was “reduced by 14 feet so that it is not higher than St. Martin's.” 21

While the church was influencing the design of its environs, Nash also played a major role in the reshaping of St. Martin-in-the-Fields itself. He designed a new Vestry Hall, Vicarage and Church Schools, connecting these to the adjacent church by laying out Church Place at ground level, with burial vaults below. The Nash buildings are Grade 2* Listed.

Later, during the Victorian era, alterations were made to the interior of the church itself. Coloured glass replaced clear glass in the main window to the east elevation. Also, the noted architect Reginald Blomfield added a dais, moved the altar forward and created heavy choir stalls.

It is clear from all the above, therefore, that St. Martin-in-the-Fields is a church of immense architectural significance, and is therefore amongst the 2.5% of listed buildings to enjoy Grade 1 status.

18 Gregory, R., (2009) Secular & Sacred. [Online] The Architectural Review. <http://www.thefreelibrary.com/>19 Ibid.20 St. Martin-in-the-Fields. (2009) Campaign Brochure. [Online] <http://www2.stmartin-in-the-

fields.org/page/campaign/downloads/brochure.pdf> p1721 Ibid.


12. Plan13. South Elevation14. North Entrance/Portico

15. Nash's 'North Range' Buildings16. Plate of Gibbs's Design

C. Social & Cultural Significance

i. Homelessness & Community SupportSt. Martin-in-the-Fields is most strongly associated with its mission on behalf of homeless people. It is'The church of the ever open door.' This is an ethos, with obvious inspiration from St. Martin, whichbegan during World War 1 when the Vicar at that time, Dick Sheppard, gave shelter and support tothe thousands of troops passing through Charing Cross on the way to and from the horrors of war.Over the course of the 20th Century, the crypt became an important shelter and soup kitchen forthe capital's homeless people, helping 7500 people per year in “19th Century burial vaults that wereactually condemned as unfit for the dead in the 1850's.” 22

In the 1960's, the Ho Ming Wah Chinese People's Day Centre was set up to help the numerous Chinese immigrants to London's Chinatown.

Always prepared to challenge the established order, in the18th Century the freed black slave OlaudahEquiano worshipped at St. Martin's ; In1966 the church's Commonwealth Day Observance raisedprotest and debate by bringing together different faiths to worship together.

The church was instrumental in the foundation of homelessness organisations such as Shelter andthe Big Issue. It was also involved in the formation of Amnesty, and supported anti-apartheidprotestors when there was a permanent vigil outside nearby South Africa House.

ii. Cultural/Creative ActivitiesThe church is associated with several important cultural and historical figures. Amongst those buriedin the earlier vaults were Robert Boyle (1691) and Nell Gwyn (1687). Francis Bacon was married atSt. Martin-in-the-Fields (1560) ; John Constable was married there ; Handel played the new organ ofGibbs' church on its first public performance, and returned regularly to play at Sunday services. IsaacNewton was a parishioner.

Visited by over 700,000 people per year, it has always found new ways in which to engage with thecommunity at large :

! The Parish Schools were amongst the first to offer free education for girls.! It set up the world's first free lending library in the 1680's.! It hosted the first radio broadcast of a religious service.! The vicar's annual Christmas Appeal on BBC Radio 4 raises more than £500,000 for

charities.! The Academy of St. Martin-in-the-Fields is one of the world's foremost chamber ensembles

and gives regular free lunchtime recitals in the church.

It is notable, and perhaps ironic, that the church of St. Martin-in-the-Fields has continually campaigned forchallenging and unpopular causes when it is also the local parish church for Buckingham Palace, DowningStreet and Whitehall. The altar is flanked by a Royal Box and a private box for the Admiralty.

Without doubt, therefore, St. Martin-in-the-Fields is a church of immense architectural, historical and culturalsignificance, located centrally in one of the world's major cities. The renewal project would always be highlyvisible, and so it was necessary that the conservation process should be of the highest quality.

22 Libby, B., (2005) St. Martins Anew. [Online]. Architecture Week. <http://www.architectureweek.com/>


17. St. Martin's hosts a wide range of social and cultural facilities.

The Renewal Project :

By the late 1990's when the project was first conceived, the overall site comprised :

! Gibbs's church – with inherited internal interventions from the 18th, 19th and 20th Centuries. Thevaults below housed a café, music and community facilities.

! Nash's 'North Range' buildings (Vestry Hall, Parish Offices and Vicarage) in use as offices andsupport facilities for the homeless charity Connection.

! Nash's vaults beneath Church Place, (situated between the church and North Range), housing thehomeless shelter and Chinese Community Centre.

! A cramped churchyard restricting east-west access and housing a market, above the vaults.

The church was not easily accessible, and the Churchyard was associated with some petty crime and drug-dealing. Occupying an area the size of Leicester Square, 300 years of reactive, organic development in thecrypt and vaults to provide ever-growing care services had reached a crisis point. Rev. Nicholas Holtham, vicarof St. Martin's, described these facilities at the time as “deteriorating to the point of being unusable. Theylack universal access, proper ventilation, and natural light, and they frequently flood. We expect that, withoutaction now, St. Martin's would be forced to end many of these valuable activities.”23

Initial plans for simple repair and redecoration grew into plans for a major renewal project, with the prospectof Heritage Lottery Funding. After taking advice from CABE, English Heritage and other bodies, St. Martin'slaunched an architectural competition in 2001. Eric Parry Associates won the competition.

EPA's architectural brief was to “develop a master plan that would unify the whole site, resolve spatialdifficulties and create a series of uplifting spaces that are flexible enough to accommodate a range ofactivities now and in the future.” 24

There followed “seven years of fundraising, redesign in response to heritage lobby concerns, archaeologicaldiscoveries and marathon contract delays,” 25 with the £35 million project completed in late 2008.

There were five main aspects to this complex project :

! Repairs & restoration to existing Church fabric – Grade 1 Listed.

! Removal of Victorian additions and decorations in Church – Grade 1.

Refurbishment & Reordering of Nash buildings – Grade 2*

! Removal of Nash vaults under Church Place, for insertion of new accommodation. Grade 2*

! Alterations at street level, including a new entrance pavilion, and lightwell, plus measures toimprove access through the site. Cast iron railings Grade 2.

£15m of the £35m total was Heritage Lottery Funding, with a major fundraising effort collecting the balance.

23 Libby, B., (2005) St. Martins Anew. [Online]. Architecture Week. <http://www.architectureweek.com/>24 Eric Parry Architects. (2009). Press Release. [Online] <http://www.ericparryarchitects.co.uk/press_release/st_m_oct_06.pdf>25 Woodman, E., (2008) Eric Parry's St. Martin-in-the-Fields Makeover. [Online] BD Online. <http://www.bdonline.co.uk/>


Timeline :

2001 Competition won by EPA2003 (Jan) Design commended by CABE2003 (June) Planning submitted2005 Site works commenced2008 Completion

Dorothea – metalwork Meica – Mechanical & Electrical Elite Lifts Avondale – builders work & bricklaying Holy Well Glass – re-glazing of windows Stonewest – stone flooring Cousins – decorations (including gilding) Taylor Pearce – memorial protection Variety Flooring - lino Stanford Scaffolding Stevenson's of Norwich – plaster repairs Treske - furniture Walker – organ protection JJ Sweeney Joinery – panelling & pew repairs Hallmark – Crypt Kitchen equipment

A. Existing Church Fabric - Repairs & Restoration

Restoration and repair works to the church were supervised by Caroe & Partners, an established firm ofspecialist conservation architects. Their first task was to undertake a survey of the existing fabric in order toassess what works were required. This is in accordance with Article 9 of the Venice Charter 26 which statesthat “The restoration in any case must be preceded and followed by an archaeological and historical study ofthe monument.”

Their survey found that cleaning needed to be carried out to the Portland stone of not only the church butalso the spire and tower. However, a “light” touch was applied, “avoiding the sort of over-cleaning that couldobliterate any sense of the passage of time.” 27 This was achieved using the DOFF and JOS complementarycleaning processes. JOS is a low pressure vortex process using air, fine inert powder and water to removecarbon, dirt and micro-organisms. DOFF uses heat and pressure to remove coatings of oil, grease andbitumen. 28 The stone cleaning was carried out by Stonewest. 29

A whole range of external works were sub-contracted to Stonewest, totalling £3million, from restoringwindows and fitting new stonework to re-gilding the weathervane. They also replaced the lead roof, and thisuncovered the requirement for repairs to some structural roof timbers.

Perhaps the biggest challenge, however, related to the original construction method employed by Gibbs. Inconstruction of walls, tower and spire, wrought iron cramps and straps were used to secure stonework. Over300 years some of these had rusted and expanded, causing cracks in several areas of stonework. These hadto be removed, while retaining as much as possible of the original stonework. 30

B. Church Interior

The main aim of the interior works was “to maximise natural light in the church and bring it closer to theoriginal Baroque design.” 31 A return to the original interior is not without controversy.

A series of alterations and additions had been made over the years. Most of the major changes were madeduring the Victorian era, when floors were added above the entrance vestibules. The pews, documented as“high pews, the height of the pedestals to the columns” in 179932 were replaced in the mid-nineteenthcentury. The noted Edwardian architect Reginald Blomfield added a dais at the East end, repositioned thealtar and “introduced heavy choir stalls.” 33

The intricate plasterwork by Italian masters Artari and Bagutti had been neglected, and a “distinctly lurid”34

colour scheme, paid for by Harrods, had been applied in 1907.

The main East window has been changed at various times. Originally painted (by James and William Price at acost of £130 in 1727), this was replaced in 1867 by stained glass depicting the Ascension, by Clayton andBell.35 This was blown out by World War 2 bombing, to be replaced by functional translucent glass.

It was therefore intended to remove these largely Victorian alterations. However, it is a major principle inconservation that later works are part of the history of a building, and that they should be conserved alongwith the original fabric. Article 11 of the Venice Charter makes this very clear. However, revealing the originalis acceptable when of “great historical, archaeological or aesthetic value.” 36 This will be discussed furtherbelow in relation to 'conservation success'.

Nevertheless, the interior decorations were returned, as closely as possible to Gibbs' original vision, and

26 ICOMOS (2010). The Venice Charter 1964 [Online] <http://www.international.icomos.org/charters/venice_e.htm>27 Gregory, R., (2009). Secular & Sacred. [Online] The Architectural Review. <http://www.thefreelibrary.com/>28 The Monument (2010). Doff and Jos Cleaning Systems. [Online] <http://www.themonument.info/learning/print.asp>29 Stonewest (2010). Case Study – St. Martin-in-the-Fields. [Online] <http://www.stonewest.co.uk/files/St%20Martin-in-the-

Fields.pdf>30 St. Martin-in-the-Fields. (2009). The Renewal of St. Martin's : Campaign Update Spring 2007.[Online] <http://www2.stmartin-

in-the-fields.org/>31 St. Martin-in-the-Fields. (2009) Campaign Brochure. [Online] <http://www2.stmartin-in-the-

fields.org/page/campaign/downloads/brochure.pdf> p11


18. Plan Views of Parry's new layout

19. Interior of Church returned to Baroque original. 20. Plasterwork by Artari and Bagutti.

some flexibility was allowed in the layout to accommodate present uses :

! The brief called for a layout which would accommodate services, concerts or memorials for agathering of 8 to 800 people. EPA achieved this by moving the altar back, stripping out the choirstalls, and replacing the first two rows of pews with removable seats set to a curved layout. Sightlinesto the pulpit were improved for congregations and audiences.

! The added floors were removed, allowing more daylight into the building.

! Paint scrapings were analysed and the interior returned to its original palette of just three hues.White and two stone colours, with some gilding around the sanctuary, complement the originaldecorative plasterwork.

! A new east window by Iranian artist Shirazeh Houshiary is a modern intervention, and readably so,which is entirely in keeping with the muted, respectful tone of the interior. Monochromatichandblown and delicately etched glass is set in a rippled form which suggests a cross reflected inwater.

C. Refurbishment and Re-ordering of North Range Buildings

Nash's Grade II* Listed buildings were cleaned in a similar manner to the church exterior. The main works,however, comprised major re-ordering the interiors for more efficient use of the space, plus the addition of a3m wide extension at the rear.

The re-ordering was mainly to the basements and attics of the three buildings. The homeless facilities thatpreviously sprawled throughout the subterranean site are now in more space-efficient accommodation in theschool building and the basement of all 3 of the Nash buildings.

The rear extension does not provide any new accommodation, but, by providing lift access and service ducts,it provides spatial clarity and makes better use of the original room layouts in these buildings. Theconstruction is contemporary, does not affect the external appearance, and is well-documented for posterity.This is a conservation approach generally acceptable under English Heritage Conservation Principles.

D. New Interventions and Replacement of Nash burial vaults

Perhaps the most contentious part of the project was the demolition of the burial vaults that John Nash hadbuilt under Church Place. The vaults were no longer fit for purpose – whether for their original purpose, orfor the accommodation of homeless people, for which they had been in use for over 50 years. There was alack of daylight and ventilation, which could not be resolved because of the low headroom preventing serviceruns.

Nash, however, is a major figure in the architectural history of Regency London. The decision to remove thevaults required consultation with English Heritage and the wider conservation lobby, and this was a decisionout of the architects' hands. As CABE stated in their Design Review of St. Martin's, “The sensitivity of theconservation issues involved is very great, and major alterations to buildings of this importance are clearly notto be taken lightly. In our view the approach to these issues has been serious and responsible, and has madethe case for the various interventions envisaged. The removal of the vaults is obviously essential to theproject, and we are strongly of the view that, taken in the round, their loss is an acceptable price to pay forwhat is offered in their place.” 37


33 Woodman, E., (2008) Eric Parry's St. Martin-in-the-Fields Makeover. [Online] BD Online. <http://www.bdonline.co.uk/>34 Ibid.35 The church of St. Martin-in-the-Fields: Description', [Online] Survey of London: volume 20: St Martin-in-the-Fields, pt III:

Trafalgar Square & Neighbourhood (1940), pp. 19-30. 36 ICOMOS (2010). The Venice Charter 1964 [Online] <http://www.international.icomos.org/charters/venice_e.htm>


21. View of completed works showing relationship of new pavilion to church.

22. Construction of new hall.23. Excavation after demolition of Nash vaults.

Eric Parry's vision was for a unified whole, connecting all the disparate elements of the site, both below andabove ground. His replacement for the vaults was a 'concrete box', simple, honest and contemporary. At 60mlong x 16m wide, this modern intervention is the link between the church and the Nash buildings, bothbelow ground and at street level.

Its construction posed interesting challenges. There was a danger of undermining the foundations of the twohistoric buildings flanking it, and the site is also directly above the Northern Line of the LondonUnderground.

This new building also supports the main entrance to the more secular functions below ground. At streetlevel, and visible from Trafalgar Square, is a new glass and stainless steel pavilion which houses a lift andstaircase. This link between sacred and secular also links Gibbs and Parry across time. Echoing Gibbs's classicalproportions, yet with a contemporary engineered solution of load-bearing glass supporting a stainless steelroof, this would have been impossible in Gibbs's age.

The spiral staircase and lift down from street level land at a lobby level, at the western end of the new hall.This resolves level access to the café in the crypt below the church. At lobby level are also the Shop and theBrass Rubbing Centre, with a gallery running along the main axis, top-lit by sky-lights set flush into the pavingabove.

At the centre of the new building is a separate community hall intended to be totally flexible in the uses thatit offers. Its walls, of dark-stained oak inside and outside, are detached from the external walls and separatedfrom the soffit above by a clerestory strip of glazing, allowing views in from the lobby level. The quality of lightand general ambience contrast with the white rough-plastered walls of the surroundings.

This community hall is accessed from a lower lobby area at the eastern end of the new building, where adouble height lightwell brings daylight to a sunken courtyard and then deeper into the building via thesurrounding glazed walls.

This second lower lobby, flooded with daylight, provides access at the extreme eastern end of the newbuilding to a tiny, minimalist chapel devoted to Rev. Dick Sheppard. To the church side, there is access to arecital hall, the Chinese Community Centre and rehearsal rooms, all situated beneath the churchyard adjacentto the east window. To the North Range side, there is access to the homeless shelter and facilities.

E. Street Level Above this new building, the access between church and the North Range was improved by relocating theListed cast iron railings closer to the church. This provides a quiet pedestrian route, with Trafalgar Square andthe National Gallery opposite at the western end, and a quiet route between Charing Cross and CoventGarden at the eastern end.

At street level, the pavilion and the lightwell are the only visible modern interventions. The lightwell issurrounded by a granite wall with vertical slits, inscribed with a poem by Andrew Motion. This wall echoesthe entrance pavilion in its plan form (interlocking circles) and in its position along the axis of Church Place.

The widened pedestrian route so created leads to a small churchyard, with seating, adjacent to the new eastwindow and above the recital hall. This space is separated by railings from the pedestrian flow and, despite itsproximity to the traffic of central London, provides a space for quiet, peaceful contemplation.

37 CABE (2003). St Martin in the Fields : Design Review. [Online] <http://www.cabe.org.uk/design-review/st-martin-in-the-fields>


24. View along Church Place from East.25. Section showing works below ground.26. The new pavilion/entrance27. Churchyard, Nash buildings in background.

Legislative Protection and Process

As was outlined above, different parts of the site enjoy different Listed status, with the Church having thehighest listing at Grade 1.

There are approximately 9000 Grade 1 Listed buildings in England, or 2% of the total. 38 In practice, however, there is little difference in the amount of protection between Grades 1 and 2*, and thegrades are more an indication of the significance of the particular 'historical asset'.

The conservation aspects of the renewal project at St. Martin-in-the-Fields involved many interested parties,including :

! Client! Design Team – Architects and Conservation Architects! Archaeological Consultants! London Church Diocese Advisory Committee! English Heritage! CABE! Local Authority (Westminster City Council)! Prince's Foundation for the Built Environment! Georgian Group! Victorian Society

The statutory process, and the relationships between these parties, are explained in Planning Policy Guidance15. A brief summary of the statutory relationships of the main bodies involved in this project is outlinedbelow in order to illustrate the complexity of the processes involved in the St. Martin's project :

i. English HeritageEnglish Heritage is the Government's statutory adviser on heritage matters, and so has the majorinfluence on the project. A.9 “English Heritage gives advice to local planning authorities on certaincategories of listed building consent application which have to be notified to English Heritage, andsimilarly advises both Secretaries of State on planning and listed building consent applications andappeals and on other matters generally affecting the historic environment.” 39

ii. Local AuthorityThe LA in this case was Westminster City Council. Planning Applications, Building RegulationsApproval and all applications for Listed Building Consent were made through the Local Authority,which is guided by two main Planning Policy Guidance publications : PPG15: Planning and theHistoric Environment and PPG 16: Archaeology and Planning. 40

iii. CABE (Commission for Architecture and the Built Environment)CABE is the Government's advisor on architecture, urban design and public space. In this case itprovided a Design Review 41 of the outline proposals for St. Martin's, coming out in favour of theremoval of the Nash vaults (see above).

iv. Georgian Group and Victorian SocietyThese specialist societies are open to public membership, and exist to promote the protection ofbuildings from their respective periods. They are each 'National Amenity Societies' and thus “arerequired to be notified by local authorities of applications to demolish listed buildings, either in wholeor in part.” 42 Their role is purely advisory, however.In the case of St. Martin's, with important architecture from both periods, this led to tensions and

38 DCLG (1994). Planning Policy Guidance 15 : Planning and the Historic Environment. [Online]<http://www.communities.gov.uk/planningandbuilding/> 6.6

39 Ibid. Annex A.940 DCLG (1990). Planning Policy Guidance 16 : Archaeology and Planning. [Online]

<http://www.communities.gov.uk/planningandbuilding/> 41 CABE (2003). St Martin in the Fields : Design Review. [Online] <http://www.cabe.org.uk/design-review/st-martin-in-the-fields>42 DCLG (1994). Planning Policy Guidance 15 : Planning and the Historic Environment. [Online]

<http://www.communities.gov.uk/planningandbuilding/> Annex A.15


Principal Contractors & Consultants :

Principal Architect Eric Parry Architects

Conservation Architects Caroe & Partners

Structural Engineer Alan Baxter & Associates

Building Services Engineers Max Fordham LLP

Main Contractor Costain

Project Manager, QS & Gardiner & Theobald LLPPlanning Supervisor

Archaeology Consultants Museum of London Archaeology Service (MoLAS)

28. Key Personnel – HRH Prince Charles, Rev. Nicholas Holtham & Eric Parry

“enmity.” 43 Demolition of the Nash vaults, for replacement with a modern concrete building,required careful negotiations. Interior works by Reginald Blomfield needed to be removed in orderto return the church to the Baroque original. As the London Evening Standard commented, “itwasn't possible to please the Georgians and Victorians at the same time.” 44

Blomfield is an interesting deviation. Despite an early architectural career in the Arts and Craftsmovement, no doubt influenced by William Morris, he went on “to be reviled by conservationists forhis casual attitude to Georgian buildings.” 45

v. Prince's Foundation for the Built EnvironmentHRH Prince Charles was invited to be patron of the project's Development Trust, which had thetask of raising £20 million for the project. His patronage was on the proviso that his Foundation forthe Built Environment should be consulted at all stages of the proposal. Despite having no officialstatutory role, the Prince, and his Foundation, have famously influenced a number of high profileLondon projects. As Moore comments, “Two other corners of Trafalgar Square bear the imprint ofhis foot-stamping.” 46

Given both the Prince's involvement, and “this monumental work of chewing-over by learned committees, itis a miracle that the finished work is not a piece of grey, masticated gum.” 47

Project Success It is clear that St. Martin-in-the-Fields is a church of immense historical, archaeological and cultural significance.The renewal project is one step in a whole succession of adaptations and evolution over hundreds of yearsas it has carried out its Christian mission.

This report's main aim was to critically appraise the renewal project, and the remaining sections analyse itssuccess firstly in terms of technical achievement, and secondly in the context of accepted conservationprinciples.

A. Technical Success Eric Parry Architects defined their architectural brief as “to unify the whole site, resolve spatial difficulties andcreate a series of uplifting spaces that are flexible enough to accommodate a range of activities now and inthe future.” 48

The key to unifying the site was the construction of the new hall, a major modern intervention replacing theNash burial vaults. This has made the many spaces below ground accessible to all, and successfully unifies thevarious spaces and facilities. It has improved circulation, ventilation and brought comfort levels up to anacceptable modern standard.

However, this understates the main achievement, which is the skilful and inspired use of daylight to create arange of successful spaces, in some cases two floors below ground level. The Dick Sheppard Chapel, inparticular, is a thoroughly Modernist space which succeeds in being both light and solemn, private andtransparent. The lightwell and skylights, both capturing daylight and providing dramatic views back up to thechurch steeple, continually animate the plain, understated surface finishes.

The project has won several awards (see inset), and is an immense technical achievement. As Woodmancomments, “Faced with a fantastically complex set of challenges, it has somehow maintained a real singularityof vision throughout.” 49

43 Moore, R., (2009) Here's the Queen's Church. [Online] London Evening Standard. <http://www.thisislondon.co.uk/standard/article-23618376-heres-the-queens-church-heres-the-steeple.do>44 Ibid.45 Worsley, G., (2002). Master builders: Sir Reginald Blomfield (1856-1942) [Online]

<http://www.telegraph.co.uk/property/3309425/Master-builders-Sir-Reginald-Blomfield-1856-1942.html>46 Moore, R., (2009) Here's the Queen's Church. [Online] London Evening Standard. 47 Ibid.48 Eric Parry Architects. (2009). Press Release. [Online] <http://www.ericparryarchitects.co.uk/press_release/st_m_oct_06.pdf>49 Woodman, E., (2008) Eric Parry's St. Martin-in-the-Fields Makeover. [Online] BD Online. <http://www.bdonline.co.uk/>


29. Granite surround to lightwell. 31. New hall, view towards lightwell and Dick Sheppard Chapel.

30. Clerestory window – Community Hall 32. Skylights in 'gallery' area of lobby.

B. Conservation Success The building, therefore, is widely regarded as a success in architectural terms. Success as a work ofconservation is more a matter of appraising the process.

Buildings conservation practice in England is enacted according to English Heritage Conservation Principles,Polices and Guidance 2008 50 This itself is based on a historical process of defining best practice, a historywhich largely began with William Morris's Manifesto for the Society for the Protection of Ancient Buildings.International best practice was set out in the Venice Charter of 1964 51 and subsequently has evolvedthrough The World Heritage Convention and UNESCO in the form of the International Council onMonuments and Sites (ICOMOS), which sets out and publishes policy and guidance documents for membernations.

St. Martin-in-the-Fields required a range of conservation measures, including repair, restoration and additionof new interventions. Without listing all the relevant policy requirements, English Heritage highlights some ofthe principles against which this project may be judged :

“138 New work or alteration to a significant place should normally be acceptable if:a. there is sufficient information comprehensively to understand the impacts of the

proposal on the significance of the place;b. the proposal would not materially harm the values of the place, which, where

appropriate, would be reinforced or further revealed;c. the proposals aspire to a quality of design and execution which may be valued now

and in the future;d. the long-term consequences of the proposals can, from experience, be

demonstrated to be benign, or the proposals are designed not to prejudice alternative solutions in the future.

139 The recognition of the public interest in heritage values is not in conflict with innovation, which can help to create the heritage of the future. Innovation is essential to sustaining cultural values in the historic environment for present and future generations, but should notbe achieved at the expense of places of established value.” 52

Key principles of policy require conservation planning and documentation before, during and after the works.In the case of some loss of fabric, for example removal of the Nash vaults, mitigation measures, (eg. recordingand archiving), help to minimise harm.

Suitably qualified bodies should be in place so that major decisions are taken objectively and in a mannerwhich takes into account the building's significance in all respects – archaeological, historical, architectural,social and cultural values are all bound up in the fabric of a building.

The most destructive aspect of the project was the demolition of the Nash vaults and their replacement witha new, modern intervention. This may seem counter to the aims of conservation. However, the policyaddresses such cases directly :

“145 New work frequently involves some intervention in the existing fabric of a place, which can be necessary to keep it in or bring it back into use. A ‘presumption in favour of preservation’(doing no harm), even preservation of evidential value, does not equate to a presumption against any intervention into, or removal of, existing fabric; but such interventions require justification in terms of impacts on heritage values.”53

50 English Heritage (2008). Conservation Principles, Policies and Guidance. [Online] <http://www.english-heritage.org.uk/>51 ICOMOS (2010). The Venice Charter 1964 [Online] <http://www.international.icomos.org/charters/venice_e.htm>52 English Heritage (2008). Conservation Principles, Policies and Guidance. 138-13953 English Heritage (2008). Conservation Principles, Policies and Guidance. 145


33. Dick Sheppard Chapel 35. Lower lobby, view to Community Hall.

34. The Crypt Café 36. Pavilion from below.

Summary

It may be concluded, therefore, from all the above, that the renewal project at St. Martin-in-the-Fields is asuccess, both architecturally and in respect of the conservation process.

The present church building has stood for nearly 300 years, although the tradition and heritage that thebuilding represents have made this a significant site for nearer 2000 years. Eric Parry has successfullyprotected for the future a range of buildings of high architectural value. He has made interventions thatsucceed in unifying the varied spiritual and secular functions in a way which respects the buildings' past, andalthough this required removal of the work of significant architects, accepted conservation practice issufficiently flexible to allow this.

The world has changed immeasurably since the time of St. Martin, and yet this church named after himcontinues his mission, providing “a practical and hospitable Christianity.” 54

54 St. Martin-in-the-Fields. (2009) Campaign Brochure. [Online] <http://www2.stmartin-in-the-fields.org/page/campaign/downloads/brochure.pdf> p3


37. Church interior. 38. Pavilion staircase, 39. Portico

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Illustration Credits :

1. http://www.guardian.co.uk/arts/gallery/2008/apr/25/stmartin?picture=3337470572. http://www.bdonline.co.uk/story_attachment.asp?storycode=3124870&seq=2&type=P&c=1 3. http://www2.stmartin-in-the-fields.org/4. http://www2.stmartin-in-the-fields.org/page/aboutus/images/history_stmartin_painting.jpg5. http://en.wikipedia.org/wiki/File:Stmartins_1562.jpg Extracted from the Civitates Orbis Terrarum, 15626. Mark Lomas7. http://www.british-history.ac.uk/image.aspx?compid=68438&filename=figure0751-008.gif&pubid=7518. http://www.british-history.ac.uk/image.aspx?compid=68440&filename=figure0751-010-a.gif&pubid=7519. http://farm4.static.flickr.com/3224/2960676637_74ca487460.jpg10. http://images.npg.org.uk/264_325/8/6/mw02486.jpg11. http://upload.wikimedia.org/wikipedia/commons/b/b7/Radcliffe_Camera_%282005%29.jpg12. http://www.british-history.ac.uk/image.aspx?compid=68441&filename=figure0751-011.gif&pubid=75113. http://www.architectureweek.com/2005/0713/images/12724_image_9.150.jpg14. http://www.architectureweek.com/2005/0713/images/12724_image_10.150.jpg15. http://www.british-history.ac.uk/image.aspx?compid=68464&filename=figure0751-034-b.gif&pubid=75116. http://www.british-history.ac.uk/image.aspx?compid=68442&filename=figure0751-012.gif&pubid=75117. http://www2.stmartin-in-the-fields.org/page/campaign/downloads/brochure.pdf18. http://www.bdonline.co.uk/story_attachment.asp?storycode=3124870&seq=2&type=P&c=1 19. http://www2.stmartin-in-the-fields.org/page/campaign/downloads/brochure.pdf20. http://www2.stmartin-in-the-fields.org/page/campaign/downloads/brochure.pdf21. http://i.telegraph.co.uk/telegraph/multimedia/archive/01216/stmartins3_1216304c.jpg22. http://www2.stmartin-in-the-fields.org/page/campaign/support/images/construction1.jpg23. http://www2.stmartin-in-the-fields.org/page/campaign/downloads/brochure.pdf24. http://i.telegraph.co.uk/telegraph/multimedia/archive/01216/stmartins3_1216304c.jpg25. http://www.bdonline.co.uk/Pictures/web/k/o/s/Long_Section_Planning_ready.jpg26. http://www.architectureweek.com/2005/0713/images_/12720_image_1.jpg27. Mark Lomas28. http://www2.stmartin-in-the-fields.org/page/campaign/downloads/brochure.pdf29. Mark Lomas30. Mark Lomas31. http://www.bdonline.co.uk/Pictures/web/c/p/l/Parry_04_ready.jpg32. Mark Lomas33. Mark Lomas34. Mark Lomas35. Mark Lomas36. Mark Lomas37. Mark Lomas38. Mark Lomas39. Mark Lomas


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