Greek Thomson ~ Glasgow's MasterBuilder ~ Part 1

 

Greek Thomson ~ Glasgow's MasterBuilder ~ Part 2

Greek Thomson ~ Glasgow's MasterBuilder ~ Part 3

 

Greek Thomson ~ Glasgow's MasterBuilder ~ Part 4

 

Alexander 'Greek' Thomson

 

Alexander Thomson began work in 1834, as a clerk in a lawyers office in Glasgow. One of their clients was an architect, Robert Foote, who was impressed by seeing Thomson's drawings and took him on as an articled apprentice. He learnt a great deal from getting access to Foote's extensive library and collection of classical casts, but in 1836 Foote had to retire due to illness. To complete his articles, Thomson became apprenticed to the architect John Baird, initially as an assistant, and later became chief draughtsman. Thomson's younger brother George got apprenticed to Baird in the early 1840s.

 

In September 1847 Thomson married Jane Nicholson, and on the same day her sister married another architect, John Baird (unrelated to Thomson's employer, and referred to by biographers as John Baird II), who fell out with his previous partner. In 1848 Thomson joined him in a new partnership, the practice of Baird & Thomson.

 

In 1857, as "the rising architectural star of Glasgow," he entered into practice with his brother George where he was to enjoy the most productive years of his life. He served as president of both the Glasgow Architectural Society and the Glasgow Institute of Architects. Thomson was an elder of the United Presbyterian Church of Scotland, and his deep religious convictions informed his work. There is a strong suggestion that he closely identified Solomon's Temple with the raised basilica of the same form of his three major churches.

 

He produced a diverse range of structures including villas, a castle, urbane terraces, commercial warehouses, tenements, and three extraordinary churches. Of these, Caledonia Road Church (1856–57) is now a ruin, Queen's Park United Presbyterian Church (1869) was destroyed in WWII, and St Vincent Street Church (1859) is the only intact survivor. Hitchcock once stated, "[Thomson has built] three of the finest Romantic Classical churches in the world”.Thomson developed his own highly idiosyncratic style from Greek, Egyptian and Levantine sources and freely adapted them to the needs of the modern city.

 

At the age of 34, Thomson designed his first and only castle, Craigrownie Castle, which stands at the tip of the Rosneath Peninsula in Cove, overlooking Loch Long. The six-storey structure is Scots Baronial in style, featuring a central tower with battlements, steep gables and oriel windows, in addition to a chapel and a mews cottage.

 

Thomson's villa designs were realized at Langside, Pollokshields, Helensburgh, Cove, the Clyde Estuary, and on the Isle of Bute. His "mature villas are Grecian in style while resembling no other Greek Revival houses,...[and they] are dominated by horizontal lines and rest on a strong podium." According to Gavin Stamp, "Thomson carefully designed his villas with symmetries within an overall asymmetry in a personal language in which the horizontal discipline of a continuous governing order—whether expressed or implied—was never abandoned.[Regarding similarities to Frank Lloyd Wright, Stamp states, "It has often been remarked that there are clear resemblances between the early houses of the Prairie School and Thomson's horizontally massed design, with its low-pitched gables and spreading eaves -- together with a connecting garden." As Sir John Summerson noted, "There is something wildly 'American' about Thomson -- a 'New World' attitude. You can see it in the villas...a sort of primitivism, ultra-Tuscan."

 

Later in his career he would abandon his eclecticism and adopt the purely Ionic Greek style for which he is best known, as such he is perhaps the last in a continuous tradition of British Greek Revival architects. In attacking the Gothic, he "insisted that 'Stonehenge is really more scientifically constructed than York Minster'...[alluding to] Pugin's comment that in their temples 'the Greeks erected their columns like the uprights of Stonehenge'."[12] Other important works still standing include Moray Place, Great Western Terrace, Egyptian Halls in Union Street, Grosvenor Building, Buck's Head Building in Argyle Street, Grecian Buildings in Sauchiehall Street, Walmer and Millbrae Crescents, and his villa, Holmwood House, at Cathcart.

 

Thomson was a visionary who introduced into our vocabulary some of the essential elements of sustainable housing. This argument hinges on an unrealized design Thomson prepared in 1868 for the Glasgow City Improvement Trust, an agency of the Town Council given the task of redeveloping a large area of slum housing centred on the medieval Old Town. The Trust invited Thomson and five other prominent architects to propose designs for the reconstruction of various parcels of land along the spine of Glasgow's High Street. Thomson suggested that closely spaced parallel tenements be built within the central courtyard, the ends of which will be open to facilitate ventilation. He also proposed that alternate streets be glazed for better warmth and safety for the residents. Although Thomson's ideas failed to catch on at the time, new research and CAD techniques have helped show how revolutionary was his proposal for improved workers' housing.

Glasgow's famous Holmwood House gets a revamp - STV News report

Holmwood House

 

Holmwood House is the finest and most elaborate residential villa designed by the Scottish architect Alexander "Greek" Thomson. It is also rare in retaining much of its original interior decor, and being open to the public. A Category A listed building, the villa is located at 61–63 Netherlee Road, Cathcart, in the southern suburbs of Glasgow, and is owned by the National Trust for Scotland.

 

Holmwood is considered to be immensely influential by several architectural historians, because the design as published in Villa and Cottage Architecture: select examples of country and suburban residence recently erected in 1868 may have influenced Frank Lloyd Wright and other proto-modernist architects.

 

History

Holmwood was constructed for James Couper, a paper manufacturer in 1857–1858. Couper and his brother Robert owned the Millholm paper mill in the valley of the White Water of Cart immediately below the villa. The principal rooms of Holmwood were orientated towards the view of Cathcart Castle (demolished in 1980). The cost of the house was £2,608:4:11d; the coach house, greenhouse & outbuildings cost a further £1,009:19:6d; and the gates an additional £75:2:0d

 

The polychromatic decoration was designed by Thomson and executed by Campbell Tait Bowie. The most notable survival is in the dining room which has a frieze of panels enlarged from John Flaxman's illustrations of Homer's Iliad. The sculpture on the hall chimneypiece was by George Mossman.

 

Holmwood was altered in the 1920s by the owner, James Gray. After World War II it was purchased by a local vet, James McElhone and his family, wife Betty and children: Rosemary, James, Helen and Paul.

 

In 1931, Thomas Redden Patterson purchased the house and settled there with his wife, Margaret Malcolm Dumbreck Forrester. Together, they established Forresters (Outfitters) Ltd a prominent Glasgow-based firm—founded in 1955 to continue the legacy of Margaret’s earlier business, Margaret Forrester, Drapers, which had operated on London Road. The company remained a respected name in local retail until its acquisition by House of Fraser Ltd in 1984.

 

Beyond their entrepreneurial ventures, the Pattersons also owned a yacht moored in Greenock, which notably took part in the Dunkirk evacuation. Thomas Patterson’s contributions to public life in Glasgow were formally recognised in the Queen’s Birthday Honours List of 1954 (CBE).

 

Holmwood was eventually sold to the Sisters of Our Lady of the Missions who obliterated much of the original decoration with plain paint. The gardener's cottage was demolished in the 1970s; the grounds and those of an adjacent villa were used for a Catholic primary school.

 

The nuns put the property on the market in the early 1990s, and there was a danger that the grounds would be developed for housing, destroying the setting of the villa. Following an appeal, Holmwood was acquired by the National Trust for Scotland in 1994 with the support of £1.5million from the National Heritage Memorial Fund.[3] It was restored by Page\Park Architects in 1997–1998. Their work included undoing the 1920s alterations and rebuilding the connecting screen wall to the coach house. Patrick Baty carried out the paint analysis.

Villa Kerylos

Villa Kerylos in Beaulieu-sur-Mer is a Greek-style property built in the early 1900s by French archaeologist Theodore Reinach, and his wife Fanny Kann, a daughter of Maximilien Kann and Betty Ephrussi, of the Ephrussi family.
Madame Fanny Reinach was a cousin of Maurice Ephrussi, who was married to Béatrice de Rothschild. Inspired by the beauty of the Reinach's Villa Kerylos and the area they built the Villa Ephrussi de Rothschild at nearby Cap Ferrat.

 A Greek word, "Kerylos" means Halcyon or kingfisher which in Greek mythology was considered a bird of good omen.

Reinach admired the architecture, interior decoration and art of the ancient world and decided to recreate the atmosphere of a luxurious Greek villa in a new building. He purchased land surrounded on three sides by the sea on the tip of the Baie des Fourmis at Beaulieu-sur-Mer which he felt offered a location similar to that of coastal Greek temples.

Reinach selected as architect Emmanuel Pontremoli, who drawing on this travels in Asia Minor designed a faithful reconstruction of the Greek noble houses built on the island of Delos in the 2nd century B.C. and laid out the building around a open peristyle courtyard

Construction of the building began in 1902 and took 6 years to complete.  The interior integrated influences from Rome, Pompeii and Egypt with the interior decoration overseen by Gustave Louis Jaulmes and Adrian Karbowsky.Stucco bas-reliefs were created by sculptor Paul Jean-Bapiste Gascq.

Reinach commissioned exact copies of ancient Grecian chairs, tabourets and klismos furniture kept in the National Archaeological Museum in Naples from the cabinetmaker Bettenfeld. Other were to original designs by Pontremoli.

The building incorporated all the latest modern early 20th century features including plumbing and underfloor heating.

Upon his death in 1928, Reinach bequeathed the property to the Institut de France, of which he had been a member. His children and grandchildren continued to live there until 1967, when the villa was classified as a Monument historique. It is now a museum open to the public.

Photographs courtesy http://www.villa-kerylos.com

The Klismos Chair

The 5th Century BCE brought along a new era in Greek chairs and furniture. The Klismos was an entirely new type of chair designed by the Greeks. It's smooth and flowing shape inspired cultures of the Middle Ages and the early 19th Century to revive the concept. The Klismos, used principally by women, was made with delicately curved back and legs. These features allowed the sitter to be in a freer and more natural position. According to Bishop (1979), the backs of these chairs, referred to as Stiles, were designed to the curvature of the back for comfort and extended to the shoulders. The Klismos, like most other furniture, was made of wood and not ornately decorated. In order to increase the comfort, cushions and animal skins were usually placed on the Klismos. By Hellenistic times, the general shape and structure of the Klismos had already started to change. Chairs once again became heavier and more rigid. The general concept of comfort over ceremony has luckily survived through these changes so that a piece of furniture from 2500 years ago does not seem at all strange today.


A klismos (Greek: κλισμός) or klismos chair is a type of ancient Greek chair, familiar from depictions on painted pottery and in bas-reliefs from the mid-fifth century BCE onwards. In epic, klismos signifies an armchair, but no specific description is given of its form; in Iliad xxiv, after Priam's appeal, Achilles rises from his thronos, raises the elder man to his feet, goes out to prepare Hector's body for decent funeral and returns, to take his place on his klismos.
A vase-painting of a satyr carrying a klismos chair on his shoulder shows how light such chairs were. The curved, tapered legs of the klismos chair sweep forward and rearward, offering stability. The rear legs sweep continuously upward to support a wide concave backrest like a curved tablet, which supports the sitter's shoulders, or which may be low enough to lean an elbow on. The seat was built of four wooden turned staves, morticed into the legs; a web of cording or leather strips supported a cushion or a pelt. The klismos was a specifically Greek invention, without detectable earlier inspiration.
The klismos fell from general favour during the Hellenistic period; nevertheless, the theatre of Dionysus at the foot of the Acropolis, Athens, of the first century CE, has carved representations of klismoi. Where a klismos is represented in Roman portraits of seated individuals, the sculptures are copies of Greek works.
The klismos was revived during the second, archaeological phase of European neoclassicism. Klismos chairs were first widely seen in Paris in the furniture made for the painter Jacques-Louis David by Georges Jacob in 1788, to be used as props in David's historical paintings, where the new sense of historicism required visual authenticity. It would be hard to find a French klismos chair earlier than the ones designed by the architect Jean-Jacques Lequeu in 1786 for a decor in the "Etruscan style" for the hôtel Montholon, boulevard Montmartre, and executed by Jacob; the furnishings have disappeared, but the watercolor designs are conserved in the Cabinet des Estampes. Simon Jervis has noted that Joseph Wright of Derby included the tablet of an approximation of a klismos chair in his Penelope Unraveling Her Web, 1783-84 (J. Paul Getty Museum).
In London, early klismos chairs were designed by Thomas Hope for his house in Duchess Street, London, which George Beaumont had described as early as 1804 as "more a Museum than anything else"; klismos chairs were illustrated by Hope in several variations in Household Furniture and Interior Decoration (1807), the record of his semi-public house-museum. Klismos chairs in their purest form furnished Hope's Picture Gallery (pl. II) and the Second Room containing Greek Vases (pl. IV), but the swept legs featured in variations on the classical theme illustrated in other plates. Henry Moses' illustration of genteel company playing cards seated on klismos chairs appeared in Hope's Designs of Modern Costume (c. 1812).
By the presence of fashionable klismos chairs and a collection of Greek vases, a self-portrait of Adam Buck and his family, significantly, was formerly thought to represent Thomas Hope. Klismos chairs were designed for Packington Hall, Warwickshire, by Joseph Bonomi.
In Philadelphia, the architect Benjamin Henry Latrobe designed a set of klismos chairs for an interior in the most advanced neoclassical taste for William Waln's drawing-room, c. 1808.[16] Latrobe's design, painted cream and red on a black background, the "Etruscan" color range, included a panel of caning beneath the tablet backrest and legs that splayed outwards to the sides as well as the front. For the White House, Latrobe's designs of 1809 for klismos chairs are cautiously reinforced with stretchers to render them more sturdy. A range of early 19th century American klismos chairs were included in the exhibition "Classical Taste in America, 1800-1840", Baltimore Museum of Art, 1993.
Such severely academic revivals might be compromised by more familiar features of the chair-maker's usual practice: an early 19th-century klismos chair by J.E. Höglander, Stockholm has a padded backrest, supported on five slender colonettes, and the faces of the legs are lightly paneled.
The classicizing phase of Modernism allied with Art Deco found the simple lines of the klismos once again in favor: klismos chairs designed by the Danish Edvard Thomspon were illustrated in Architekten, 1922. In 1960, T. H. Robsjohn-Gibbings met Greek cabinetmakers Susan and Eleftherios Saridis, and, together, they created the Klismos line of furniture, recreating ancient Greek furnishings with some accuracy, including klismos chairs.