The 5th AGM of Brighton and Hove Heritage Commission will take place on Saturday 1st September 2018 at 2pm in St Peter’s Chuch, just behind Preston Manor (please arrive around 1.45pm to ensure a seat).
The AGM includes a presentation by guest speaker Henry Vivian-Neal – on Kensal Green Cemetery and its link with Brighton resident Joseph Rogers. Henry is a Trustee of The Friends of Kensal Green Cemetery and the author of books and articles about the Cemetery
Hazel Tapsell will then briefly speak on the history of St Peter’s.
The meeting will be followed by refreshments in the Servants’ Kitchen of Preston Manor (free to BHCC members – £5 per person to non-members). Optional tours of the Manor at local resident rate of £5 per person will also be available.
Despite a squall or two BHHC enjoyed a wonderful weekend at Brunswick Festival with lots of heritage lovers stopping for a chat and to ask about joining.
It is fitting that the Festival is held in this wonderful Regency Square every August (this being its 35th year) as this is a splendid example of a heritage area which was threatened with demolition but saved by people power in the 1940s for posterity to enjoy.
Interested in booking a Historic Trip? Then email Martin Foster with your details below and he will send you a booking form. Please state which trip you are interested in in the Comment box, along with your real-life address and Tel no.
Images from the BHHC Christmas Party on 3rd December
Mayor Lynda Hyde makes a speech at the opening of the WWI exhibition in Jubilee Library sponsored by BHHC on 7th December.
BHHC Affiliates meeting at The Old Vicarage, Brighton and Hove High School on 10th December. Where guest speakers Rob Fraser, Head of Planning at Brighton and Hove City Council, Rich Howorth of Brighton and Lewes Biosphere Partnership and James Farrell of Building Green came together to give an overview of local planning pressures, biosphere considerations and our natural heritage including Madeira Drive’s green wall. But can all three be adequately accommodated? A lot of food for thought which we will hope will lead to a lot of ideas. It was heartening to see how many local conservation and community groups were represented.
If you missed the excellent Wall of Windows exhibition at the University of Brighton Gallery in Grand Parade earlier this year sponsored by BHHC in conjunction with the University of Brighton and The Brooking National Collection, LINK here is the story.
The Brighton display followed major success at the Venice Biennale and included windows that ranged from a 17th century wrought-iron casement window from a Hampshire farmhouse to a 1960s window from Portsmouth’s Tricorn Centre
Windows have a fascinating history.
The word ‘window’ – apparently originated as ‘wind hole’ or ‘wind eye’ from the Old Norse in the days before glass was invented and an animal skin was typically draped across the hole for most of the time to keep the elements out.
The following facts about windows are from Wikipedia
Because glass was so hard to make and thus valuable, there was a property tax called the Window Tax based on the number of windows in a house. It was a significant social, cultural, and architectural force in England, France and Scotland during the 18th and 19th centuries. To avoid the tax some houses from the period can be seen to have bricked-up window-spaces (ready to be glazed or reglazed at a later date). In England and Wales it was introduced in 1696 and was repealed in 1851, 156 years after first being introduced. France (established 1798, repealed 1926) and Scotland both had window taxes for similar reasons. Windows were also at risk of being stolen owing to their value!
Early Use The earliest-known use of sash windows in this country was in the later part of the 17th Century, at Chatsworth (c1676-1680), Ham House, Hampton Court Palace and Kensington Palace. Royal patronage, and its adoption by Wren, made sash windows very fasionable in both old and new buildings, and it immediately became something of a status symbol. Sash windows were ideally suited to Palladio’s “perfect canons of proportion”, that were practised in England by Inigo Jones.
The development of sash windows was timely, because it had enormous aesthetic and practical superiority over the older casement windows.
The wrought-iron hinged metal casement, with its mullions and lead cames, was not only dark and draughty, but the leaded casement restricted the use of larger sheets of glass, owing to the relative weakness of the lead. Casement windows, when open, detracted from the facade rather than enhancing it, whilst the new sash windows were enhancing with their white frameworks and larger sheets of glass. The crown glass in these early sash windows created beautiful reflections that could not be matched by the small panes of earlier windows.
People who could afford the new sash windows ruthlessly cut out their leaded-light windows, which explains why so many larger 16th and 17th Century houses have early 18th Century windows. This fashionable modernisation was often lavished only on the principal facades, and early casement windows often survived on the less prominent facades. The earliest sash windows had thick glazing bars to the sashes, which were usually constructed of oak, the weight box being set almost flush with the outer wall.
The invention of plate glass in the 19th century as a building material was a revelation and enabled windows to move away from multi-paned windows full of impurities. This innovation was heralded by The Crystal Palace of 1851, built by Joseph Paxton to house the Great Exhibition. Paxton’s revolutionary new building inspired the public use of glass as a material for domestic and horticultural architecture. The requisite technology for the construction of plate-glass had been made possible just a few years earlier by James Hartley, working for the firm Chance Brothers. In 1832, Chance Brothers became the first company to adopt the cylinder method to produce sheet glass with the expertise of Georges Bontemps, a famous French glassmaker. The glass was taken from the furnace in large iron ladles and thrown upon a cast-iron bed of a rolling-table, where it is rolled into a sheet with an iron roller. The sheet, still soft, was pushed into the open mouth of an annealing tunnel or temperature-controlled oven called a lehr, down which it was carried by a system of rollers, which enabled the manufacture of curved plate glass too. Hartley introduced the Rolled Plate method in 1847. This enabled a ribbed finish and was often used for extensive glass roofs such as those found in railway stations.
The mass production of glass was developed in 1887 by the firm Ashley in Castleford, Yorkshire. This semi-automatic process used machines that were capable of producing 200 standardized bottles per hour, many times quicker than the traditional methods of manufacture. Chance Brothers also introduced the machine rolled patterned glass method in 1888.
15 North Street, Brighton (Timpson) might seem a fairly unremarkable 18th century commercial premises on the face of it, but it is still a fine example of the vernacular and one of the few remaining in the city centre. Behind it, hidden in an internal courtyard, nestles an even older commercial premises, Puget’s Cottage, formerly an annex of the late Hannington’s department store.
The developer’s idea is to bulldoze both to create a ‘Hannington Lane’ additional access into the world famous Brighton Lanes and to convince everyone that that is the only option to create an additional thoroughfare.
BHHC’s idea is that an alternative passage could be created just a few feet to the east through the ground floor of 16 North Street (preserving the upper floors of 16). This would achieve the same aim of an additional lane, but would be a more sensitive and far less costly solution.
In addition two historic buildings would be preserved to enhance the attractions of the Lanes if a rear access was opened up to Puget’s cottage and it was brought back into commercial use or even used as a tourist attraction.
An unsympathetic modern square (Brighton Square) has already been incoporated into the historic Lanes (or Laines as they were formerly known) and with disastrous consequences. It is virtually deserted and with most of its premises closed. It is simply not what people come to Brighton to enjoy and it has done nothing to enhance the Lanes. You will find it on no Brighton postcard.