Urban Project: Reimagine Mayfair, London

REIMAGINE MAYFAIR. TYBURN RIVER REIMAGINED

Course . Architecture and Historic Urban Environments Module . Design Research Methods for Historic Environments Tutor . Hannah Corlett

Site

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Mayfair

MA Architecture and Historic Urban Environments The Bartlett School of Architecture, UCL January 2020

G e n e r a l h is t o ry “It is said that here ducks once wandered about amongst the long grass and puddles, women did their washing at the water’s edge and a hospital for plague victims was erected here near the open fields.”

Much has been written on the history or Mayfair, the Tyburn River and its surroundings. This outline historical research seeks to outline and summarise this history in the context of the three individual sites. It will provide a backdrop from which further, more in depth research can be undertaken. Often described as the jewel in the crown of Westminster, Mayfair sits centrally within the heart of London, neighbouring Westminster, Belgravia, Marylebone, Soho and St James’s. It is an area that possess a unique urban character with a strong architectural quality. Undergoing change in the form of redevelopment and change of uses, the area provides a rare opportunity to introduce architectural and abstract interventions on a variety of scales.

Originating in Hampstead, the Tyburn is an historic river that meanders its way through Regents Park, Marylebone, Mayfair and Westminster before entering the Thames.1 Like many of the tributaries of the Thames, it lies under the surface of the city. The name ‘Tyburn’ is derived from the old English word for boundary ‘reo’ and ‘burna, meaning stream2. The river provided an important source of clean water for the City of London. And as early as 1236, conduits were constructed to transport water from the Tyburn to the rest of the city.

Throughout much of its history, the village and its river was associated with public executions with the first recorded hanging taking place in 11963. At a time where public hangings were extremely popular, the ‘tree’, a form of wooden gallows, was erected to accommodate mass executions and would attract vast crowds on onlookers. Despite their popularity, the gallows were relocated to Newgate Prison in the late 1790s4. Once a source of drinking water, over the course of the 17th and 18th century’s the river’s fortunes soon took a turn for the worse. By 1820 the river was almost completely covered as development of the area took hold. Although now concealed, evidence of the river’s path can be seen from above through the urban form of the city. It’s route cuts through and intersects the streetscape, which over the course of its urban development, has largely ignored the geological feature.

Fig 2

Fig 3

Fig 4

1 2 3 4

Barton, 1992 Camden Council, 2010 Bradford, 2004 Walford, 1878

timeline 1571

The ‘Tyburn Tree’ was erected in 1571 on the junction of Edgware Road, Bayswater Road and Oxford Street.

Public executions took place here until the late 1700s.

1678

1686

Sir Thomas Grosvenor, 3rd Baronet, born in 1656 and through his marriage to Mary Davies inherhited large areas of swap land that were developed to form the areas Mayfair and Belgravia.

1746

Print of the river Tyburn and early buildings that surrounded it. Taken from the book The Groundwater Diaries.

The river ran through the land that made up the Grosvenor Estate making the area

In 1686 King James II granted royal permission for an annual fair to be held on the site that is now Shephards Market in the first two weeks of May, giving Mayfair its name.

1750

1798

A stone plaque situated near Marble Arch now marks the spot where the gallows once stood.

In 1798 the gallows were relocated to Newgate Prison.

The general plan of Mayfair was layed out in a plan by masterbuilder Thomas Barlow in conjunction with the Grosvenor Estate. Both invested heavily into the development of the estate consisting of symmetrical terraces and grand squares and gardens.

1877

Architectural elevation drawing of Old Bond Street Galleries in 1877.

1910

1923

17 Bruton Lane, Mayfair was the birthplace of Queen Elizabeth II. The former Mansion and home of her maternal grandparents, no longer exists. The photograph shows workmen removing furniture belonging to the Duke of York prior to its demolition in Magazine cutting taken from a popular fashion magazine of the 1930s.

1950

The Chancery Building (commonly known as the American Embassy) was built at 30 Grosvenor Square during the 1950s. The building replaces a series of 18th century townhouses.

Comprehensive redevelopement of Grosvenor Square took place at this time, while praised at the time, much of the redevelopment of the area has received critisism.

1973

Aereal photograph of Mayfair, facing north east.

Fig 5

Urban fo rm

Formed largely of grid patterned street layouts, grand squares and wide streets, what we also see it the leftover space that the river has created. Mayfair was largely laid out and built in the early 18th century by the landowners of the time. Plots of land were leased out to builders who then erected large, elegantly fronted town- houses as speculative ventures5. Fig 6 provides an insight into the scale of the city’s landowners, as well as being a striking piece of graphic propaganda typical of the time.

Historic map progression is a useful tool to illustrate how the townscape of Mayfair has gradually development over several centuries. Mayfair has long maintained its iconic position as an area synonymous with exclusivity, respectability and wealth, an image sustained over its long 200 years development6. The worlds of high end, luxury retail, fashion and art have an established history here that have contributed to the areas status and character. Residents include the Royal Academy and various foregin embassies who have brought with them a cultural respectability to the area.

Development from the late 17th century was largely small-scale and piece-meal, confined to central areas such as Soho. It was during the early 1720s and 30s that a large part of Mayfair was planned out by Thomas Barlow, the surveyor of the Grosvenor Estate. Figure 7 shows his plan of the estate in 1723, centralised around the grand Grosvenor Square and to the west where the block plan meets the Tyburn River.

Historic maps of the time are useful in showing how the grid of wide, straight streets makes no concessions for the irregular boundaries of the land and Tyburn River.

Fig 11

While having a dominating commercial feel, Mayfair possesses a strong sense of place, with tight grain walkable streets and high quality architecture. In more recent years, the area’s long established functions have come under threat from development, Crossrail for example, the departure of key players such as the Americal Embassy, and rising commercial rents7. These are all signals of the areas current and future redevelopment. Mayfair has always been a place for makers and creatives in some form or another. Yet now it provides an interesting backdrop for new interventions into its built form.

Fig 12

Fig 13

5 6 7

Longstaffe-Gowan, 2016 Kennedy, 1986 Wetherell, 2019

1723

Fig 14

1746

Fig 15

1792 Fig 16

1889

Fig 17

1910

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1910

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g rou p s o n s ite

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contents Introduction Conceptual History Urban Form - Site Collage - Analysis of site form

01 02 07

The Makers - Interview Film Depiction Design Proposal - Urban Analysis - Design ideas collage Abstract Models Final Model

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Conclusion Figures Bibliography

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In t r odu c t i on Con c e pt u a l h i s t or y U r ba n f or m The makers F i l m de pi c t i on D e s i gn pr opos a l A bs t r a c t Mode l s F i n a l M ode l

i n tro/ design synopsis With the highest concentration of contemporary art galleries anywhere in the world, the art world of Mayfair represents a formidable and seemingly impenetrable market for the aspiring and emerging artist.

The Fete of Mayfair is a reimagination of a traditional village fete, projected onto an urban context. A temporary event that aims to contrast and conflict with the polite and exclusive world that currently exists. The intervention proposes temporary space for artists to exhibit, perform, sell and advertise their work.

The site of the Tyburn River provides the perfect backdrop for our proposals.

As a notable exception to Mayfair’s uniform grid patterns, the route of the historic river cuts and meanders its way through producing an urban conflict in space, scale and form.

Taking inspiration from the global Occupy Movements, the event will introduce temporary installations that will take over the forgotten, awkward and leftover spaces along a circular route through Mayfair. Interventions will include pop-up installations, interactive performance art, and large scale projections.

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In t r odu c t i on Con c e pt u a l h i s t or y U r ba n f or m The makers F i l m de pi c t i on D e s i gn pr opos a l A bs t r a c t Mode l s F i n a l M ode l

CONCEPTUAL HISTORY Joshua Compston

A key source of inspiration for the proposals came from the work of Joshua Compston, an art dealer and activist who lived in East London during the 1990s. e was the son of a judge, educated at Oxford University, and he was described by his peers a talented art dealer, trouble maker and genius.

Fig 6

Fig 7

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Fig 8

Although having had a very middle class upbringing, he made Hoxton his home, which at the time during the 90s was a derelict and dangerous suburb of the cit . espite the areas rough image, East London provided the space for the city’s art scene to thrive take over, long before the hipsters moved in and house prices skyrocketed. It was during this time he set up his conceptual art gallery, “Factual Nonsense”. He was seen as the driving force behind the transformation of London’s East End into the cultural hub it is today8.

Joshua Compston was perhaps best remembered for his series of collaborative street events.

One of which being ‘The Fete Worse than Death’, his take on traditional and quintessentially nglish folk festi al. In 1993 the first fete took place with emerging artists exhibiting and selling their work on the street. Damien Hirst, a relatively unknown artist at the time, dressed as a clown and sold paintings for a £19. In 2014, on the 20th anniversary of the original Fete Worse than Death, a celebratory fete was held and allowed artists to reclaim the streets for one day. The event hosted artists that exhibited in the original fete such as Damien Hurst and Tracey Emin.

Compton organised these events in an attempt to shape the community of artists he was a part of. This a key theme that we took forward into our proposals.

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POSTER OF OUR PROJECT

Fig 9

POSTER OF OUR PROJECT

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THE OCCUPY MOVEMENT

Once largely views as a fringe activity, only undertaken by passionate and extremist fragments of society, protests are now a commonplace occurrence, with a far broader reach and participant base. A particular form of protest that has gained significant momentum in recent times is the Occupy Movement10. Undertaken in opposition to social and economic ine ualit and in ustices, ccup o ements took first took inspiration from the rising of the rab Spring from 2009 onwards. The first mo ement to gain significant attention took place in New ork it s uccotti Park in 2011, Occupy Wall Street took over the park for a period of 2 months before turning their focus to forcible occupying corporate headquarters, university campuses and banks11.

Within occupy movements the use of certain objects and structures en masse or at an exaggerated scale can pro ide additional significance and meaning. They act as symbols that resonate within the popular imagination and can contain multiple layers of meaning and use.

The Umbrella Movement was a political movement that emerged during the Hong Kong protests in 2014 following political unrest where tens of thousands of anti-government protestors brought the region to a standstill12. Umbrellas were initially used as protection from the clouds of tear gas and pepper spray but quickly gained widespread recognition as a symbol of the protest movement. Its use and iconic status which symbolised the resistance, lead to the creation of artistic works which formed part of the movement. The occupied streets of Hong Kong were transformed into an extended canvas of artistic expression and creativity.

10 11 12 13

Mitchell, 2012 riters for the 99 , 2012 ee, 2019 Chan, 2019

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“The umbrella has been a symbol since the 2014 Umbrella Movement, and we use it to protect ourselves. ut it gives us power. e stand at the ac ut we can donate it to the front. e pass the power to them.�13

Fig 10

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In t r odu c t i on Con c e pt u a l h i s t or y U r ba n f or m The makers F i l m de pi c t i on D e s i gn pr opos a l A bs t r a c t Mode l s F i n a l M ode l

SITE COLLAGE

Fig 20

map illustrating historical buildings on the project’s route

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Urban Form Analysis

Fig 21

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In t r odu c t i on Con c e pt u a l h i s t or y U r ba n f or m The makers F i l m de pi c t i on D e s i gn pr opos a l A bs t r a c t Mode l s F i n a l M ode l

hat do ou thin of the area of Mayfair?

Do you think it is artist friendl �

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Questions that were asked to the makers in Royal College of Arts : 01 What do you study? What is your background? What do you specialise in?

02 Are you currently aware of any studio spaces, coworking spaces, workshops within walking distance of the RA? 03 If so, are there any creative spaces that you currently use? Where do you go when you create your ‘interventions’?

04 How long do you spend your time in this area?

05 After you graduate, do you plan to live/work in this area?

06 What do you think of the area of Mayfair? Do you think it is artist friendly?

07 Is there sufficient resources for you to be able to work in the area? If not, where do you go?

Interviewee 1

Post-graduate Art Student from UAL 26 years old Works at his home studio High concentration of art galleries xhibiting in a fair is difficult but not impossible Resources and supplies are expensive Wasn’t aware and hadn’t considered Mayfair as an option “It’s definitely difficult, it has the highest density of art galleries but they’re all hard to get into and you need to network your way in.”

Interviewee 5 BA Fine Art (Sculpture) student at UAL (Chelsea College of Arts) 22 years old Works predominantly at university and at home University studio space works on a booking system and is often fully book Finds it difficult to find usable space that is suitable for current needs A space within a commutable distance from both home and university would prove useful “Mayfair really isn’t the place for students like me, it has the galleries but we don’t have anywhere that we can work or exhibit. Sometimes I really struggle to find somewhere when uni is full.”

Interviewee 2 Journalism Teacher 55 years old Visiting the RA for an exhibition Not familiar with Mayfair Didn’t think the area appealed to small scale artists or individual makers

Issues identified: 1. High end galleries are unaccessible for young creatives and the public 2. Lack of community spaces for communal activities and exhibitions 3. Resources and exhibition spaces available are expensive Opportunities: 1. To strengthen the relationship between public space and its surrounding buildings 2. Create affordable and shared workspace for makers

Interviewee 3 Tutor at RA (3D Workshops) 54 years old Mayfair in general isn’t particularly artist friendly Based at the RA in the workshop space The area lacks anywhere to purchase art and workshop supplies/resources

3. Create relaxing and social spaces for local communities 4. Create distinctive places with hight quality materials, features and functions 5. Create educational spaces

“As a tutor, I can appreciate that students might find it difficult to find a space outside theses workshops, particularly in this area.”

Interviewee 4

Fig 22

Post-graduate Art Student from UAL 26 years old Works at his home studio High concentration of art galleries xhibiting in a fair is difficult but not impossible Resources and supplies are expensive Wasn’t aware and hadn’t considered Mayfair as an option “It’s definitely difficult, it has the highest density of art galleries but they’re all hard to get into and you need to network your way in.”

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In t r odu c t i on Con c e pt u a l h i s t or y U r ba n f or m The makers F i l m de pi c t i on D e s i gn pr opos a l A bs t r a c t Mode l s F i n a l M ode l

FILM DEPICTION

00:00

01:29

00:00

The film was taken in order to examine the urban geography of the chosen route, capturing a linear analysis from street level.

Fig 23

It is a method of analysis that provides a more interactive view of the ‘pathway’ the route creates throught the existing street pattern. It shows how the street forms vary in scale, form and legibility.

The film has been edited from 17 minutes of video material, its speed has subsequently been increased to a speed of 1200

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00:00

01:29

Fig 24

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00:00

01:29

Fig 25

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In t r odu c t i on Con c e pt u a l h i s t or y U r ba n f or m The makers F i l m de pi c t i on D e s i gn pr opos a l A bs t r a c t Mode l s F i n a l M ode l

DESIGN PROPOSAL - SITE ANALYSIS

There are a variety of high-end galleries in Mayfair but the are difficult for oung artists to penetrate.

We want to make use of these established spaces to make art easily accessible to the community.

When Grosvenor Estate did the planning for Mayfair, everything was in grid except some leftover space.

Existing Gallery spaces

Fig 26 GALLERY

OPEN SPACE

GROS

Grosvenor Estate

Fig 27 OPEN SPACE

GROSVENOR ESTATE

Existing Open spaces

GALLERY

OPEN SPACE

Fig 28

GROSVENOR ESTATE

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GALLERY SPACES ANALYSIS

We want to create a fete including the protest. The protest can take place in front of expensive galleries to make a strong contrast with these galleries. The artwork sold in the fete will be one pound while the artwork sold in the gallery will be much more expensive.

Gagosian Gallery

Simon C. Dickinson

Fig 29

Pace London

Fig 30

David Zwirner Gallery

Fig 31

Fig 32

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THE ROUTE

The zig-zag space

Fig 33

Part 1 Make the best use of the zig-zag space mainly the back street. A series of installations will be provided both temporarily and permanently

Fig 34

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Part 2 Fight against high-end galleries. The protest will take place in front of the galleries, it will include projection of artwork on the external walls of the galleries.

Fig 35

Part 3 Grosvenor Square will be incorporated into the route to bring more art events to the community.

Fig 36

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ROUTE ANALYSIS INCORPORATING PROPOSAL

Fig 37

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DESIGN COLLAGES

the balloon Fig 38

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design installations Fig 39

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the circus Fig 40

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pop up inflatable structure Fig 41

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floating advertisements Fig 42

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proposal of creating a passage Fig 43

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the circulating route of our fair

Aerial View

Fig 44

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In t r odu c t i on Con c e pt u a l h i s t or y U r ba n f or m The makers F i l m de pi c t i on D e s i gn pr opos a l A bs t r a c t Mode l s F i n a l M ode l

ABSTRACT MODELS

01 Inspired by the work of Dora Maurer, we wanted to explore the concept of creating installation art on/along our route.

The model experiments with geometrical shapes because we tried to use the pattern of our zig-zag spaces. We are proposing a duplication of this model.

Fig 45

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Fig 46

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03

Inspired by the work of Franz Erhard Walther and sewn from a simply calico fabric, an abstract model was created as a starting point for our proposal. The interactive performance based installation was intended to simply create moments of social intimacy and spacial awareness. The model represents a temporary occupation of space that is both stationar and mobile. film of the performance piece was created in order to record the reactions and relationship between the model and individuals passing by.

The film was recorded in the nnenberg Courtyard at the Royal Academy and has been edited from 3 minutes and 20 seconds of video material. Its speed has subsequently been increased to a speed of 1200 .

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In t r odu c t i on Con c e pt u a l h i s t or y U r ba n f or m The makers F i l m de pi c t i on D e s i gn pr opos a l A bs t r a c t Mode l s F i n a l M ode l

final model

Fig 47

The final proposals are represented in a 1 1000 abstract model of a section of the route. The abstract model is formed of a number of components, including coloured installations and protest slogan projections. The section of the route selected provides a zoomed in, detailed representation of the route as a whole. The street space along Bruton Lane provided a variety of scales both vertically in the building facades and horizontally between these buildings.

Fig 48

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section.

umbrellas

Fig 9

bunting platforms display stands (slogan) advertisements bridges

Design interventions

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details. 01

The coloured fragments represent a series of abstract installations occupying the space between the building faรงades. These fragments are duplicated on mass, similar to the use of the umbrella during occupy movements. Platforms for performance, connections from ground to upper oors, links between facades and space for exhibition and making are all represented in these fragments. The faรงades protrude out from a clear, moveable base where a block plan is visible underneath. The faรงades have the ability to be separated and pull apart from one another, providing different viewpoints.

Fig 50

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Fig 51 pop up space

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Fig 52 fabric installation stairway tube-like installation

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Conclusion “I never fucking wanted to be a gallerist, I never wanted to sell fucking paintings. The only reason I did it was to promote a subculture that was being overlooked, and now that’s gone now.�14 The history of Mayfair and the river Tyburn is varied and diverse to say the least. A history of development and social change that has created a unique urban space, one that has been shaped by powerful residents of the time but also its geological features and constraints.

London has one of the most diverse and exciting art scenes in the world. Mayfair has been singled out for being home to a large proportion of contemporary art galleries. It is an area of London that often represents a world or culture that is an antithesis to that which is experienced by many emerging artists beginning their careers. Exhibition can exist in many different forms, much beyond a bank white space on a gallery wall. Using the method of protest and performance, the Fete of Mayfair provides a platform for emerging artists. Through researching examples of Occupy Movements, protests and insallation architecture, it has become clear how a social force can shape an urban en ironment. erel highlighting a constrast or con iction between two social circles is enough to spark a wider debate of how urban spaces should be occupied and by whom. That said, the occupation of this space, whether it be temporary or permanent, is not merely a show of public discontent as a spectacle for spectacles sake, it provides the platform for representation and visibility for a community who seek to exist here.

This portfolio indtroduces the theme of a fete as a form of protest, as it was introduced through the work of artist Joshua Compston. Different recording tools were used throughout the portfolio, including photograph , film, inter iews, photomontage and performance installations.

To conclude, these proposals ha e stemmed from the needs of makers and creati es identified.

WIth an overarching arm of facilitating a new community of artists within the heart of Mayfair. While these proposals do not propose that the galleries of Mayfair are at fault or should not exist. The commnuity of galleries in Mayfair is well established and successful in its own right. The Fete of Mayfair provides the social and physical platform for two communities and cultures to exist in the same urban space. Promoting one that has been excluded and overlooked. Quoting the art gallery owner and agent to ansk , Ste e azarides, who left his galler in a fair in 2019

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Lazarides, 2019

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FIGURES

Figure 1

uang , hang .

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Figure 2: 18th century print of the River Tyburn, 1750 [Internet]. Available from: http://www.barryoneoff.co.uk/rivers.html Figure 3 18th centur print of public executions at T burn, 1726 Internet . com/2017/05/sodomites-get-gibbet-after-mother-claps.html

ailable from https

Figure Plate 2 xtract from ohn oc ue s Plan of the ities of ondon from https www.british-histor .ac.uk sur e -london ol39 pt1 plate-2

estminster, 17 6 Internet . 1977.

Figure 5

patrickmurfin.blogspot. ailable

angle S. ollage b author. 2019

Figure 6: The Art and Death of Joshua Compston. (2013). [image] Available at: http://untitled-magazine.com/joshua-compston-paul-stolper-gallery-london-june-21-august-31/.

Figure 7 The Fete orse than eath poster 199 . image charts-the-art-and-death-of-joshua-compston.

ailable at https

Figure 8 oberl , . 1993 . amien urst and ngus Fairhurst. image don-exhibition-charts-the-art-and-death-of-joshua-compston.

Figure 9 angle S. ollage b author. 2019 Figure 10

www.wallpaper.com art a-london-exhibition-

ailable at https

www.wallpaper.com art a-lon-

iu , ollage b author. 2019

Figure 11: 12. Engraving of Grosvenor Square, 1754 [Internet]. Available from: https://www.british-history.ac.uk/survey-london/vol40/pt2/pp117-166 Figure 12 . . Northrup andlordism illustration, 1925 Internet . 2017. org/2017/10/28/who-owns-central-london/

ailable from https

whoownsengland.

Figure 13: John Mackay, Plan of the Grosvenor Estate in Mayfair, 1723 [Internet]. Available from: http://vision.grosvenorlondon.com/Grosvenor/media/grosvenor/6-Short-history-of-Grosvenor-Square_sml.pdf Figure 14: 1723 Map of Mayfair [Internet]. Available from: https://digimap.edina.ac.uk/roam/map/historic Figure 15: 1746 Map of Mayfair [Internet]. Available from: https://digimap.edina.ac.uk/roam/map/historic Figure 16 1792

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a fair Internet .

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Figure 17: 1870 Map of Mayfair [Internet]. Available from: https://digimap.edina.ac.uk/roam/map/historic Figure 18 1889

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a fair Internet .

ailable from https

digimap.edina.ac.uk roam map historic

Figure 19 1910

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Figure 20

angle S. ollage b author. 2019

Figure 21

angle S. ollage b author. 2019

Figure 22 Inter iew with artists at

. 2019

Figures 23-25

angle S. Screenshots from film b author. 2019

Figures 26-28

an .

aps b author. 2019

Figure 29 agosian aller l ne , aruso St ohn s agosian ros enor ill art galler opens in ondon. 2015. ble from: https://www.dezeen.com/2015/10/12/gagosian-grosvenor-hill-gallery-caruso-st-john-mayfair-london/

aila-

Figure 30: Pace London - Harrison R, “The Calder Prize 2005–2015” at Pace Gallery, London. 2016.Available from: http:// moussemagazine.it/calder-price-pace-gallery-2016/.

Figure 31: Simon C. Dickinson- CW Conctributor, Art Scene Insider: Getting to know the best Galleries in Mayfair. 2017.

Available from: https://www.culturewhisper.com/r/things_to_do/preview/6620 Figure 32 a id wirner aller com/listing/david-zwirner-gallery/ Figures 33-36 Figure 37

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Figures 38- 3 Figure

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www.ma faireccentrics.

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ui . Photomontage b author. 2019

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Figures 5-53

onnell T,

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angle S. Photographs b author. 2019

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TYBURN RIVER REIMAGINED