Understanding if it is possible to conserve Sutton Scarsdale Hall or if was always destined for ruin?
Ben Smallwood
SN: 22185286
BARC0009
Architecture MArch / MArch History & Theory: Year 4, Assessed Component 2022-3
HT3: Daisy Froud / Conversations about change
Word Count: 4842
Page]
The history-led approach (1579)
The Spirit of Sutton Scarsdale (1882) Where is the spirit of the place? The multiple authors Ruins, the baroque and imagination
Grade 1 listed Sutton Scarsdale Hall has existed for over a millennium in the rural countryside outside Chesterfield. The building, altered throughout time by various authors, now left in ruin, forgotten, for over a century. Following its most recent illustrious design for the nobles of the 18th-century, the hall fell on times of economic decline, forcing its abandonment, stripping, and sale around the world.
Left as a surviving remnant of national and personal histories, SSH now exists in many parts both physically and artificially, all simultaneously portray its life and continuing decay. Now under the guardianship of English Heritage who are responsible for its conservation, wanting to bring history to life where history happened.1 EH is faced with the dilemma of what change is appropriate or acceptable when understanding the future of this historic building. “We have to ask, should we preserve such buildings as they are now, strip them back to their original state when first built or restore them to how they appeared at the height of their glory?”2 Pertinent with SSH, the definition of its original state, and the versions of its histories that need to be represented are unclear and discussed within this essay, evaluating these against EH’s values of authenticity, quality, imagination, responsibility, and fun.3
This research will use both contemporary and traditional schools of thought to debate the discourse of SSH’s past and future in the
1 English Heritage, “Our Vision & Values”, https://www.english-heritage.org.uk/aboutus/our-values/, (Accessed 27 December 2022)
2 Vice-Admiral Sir Tim Laurence, 2020. “Whatdoyoudowitharuinedcountryhouse? Fourexamplesthatshowthewayforward”, in Country Life, https://www.countrylife.co.uk/architecture/what-on-earth-do-you-do-with-a-ruinedcountry-house-four-examples-that-show-the-way-forward-217562, (Accessed 22 December 2022)
3 (English Heritage, Our Vision & Values, n.d.)
context of history-led, and spirit-led approaches to conservation, (understood through Albers and Hebel in Zumthor, Chandler and Pace, and Smith) change and ruination (understood through Hill, Robertson, and Waterfield). Whilst understanding through the case study of SSH, the systems, organisations, and approaches conceived to preserve the historic fabric of Britain from natural and societal threats, and the effects these approaches have on the experience of the hall by visitors
This research ultimately aims to understand from theory and the past of SSH, if one of the finest examples of Baroque Ruins, can be feasibly and authentically conserved, and how?
In retelling the story of Sutton Scarsdale Hall (SSH), the building is inextricably linked to national history of political, economic, cultural, and climactic events, as well as all the personal histories the hall has played the backdrop for. Therefore, the hall is of special historic interest 4 and the reason for its protection by English Heritage (EH), is to ensure the story of the nation can continue to be told through its bricks and mortar.
SSH has existed in its current rural northern location, since before 1002.5 The sporadic documentation throughout the past thousand years, including in the Domesday book in 1086,6 illustrates some of the various lives that SSH has lived under different names, ownerships, and up to four previous forms before the one in ruin today. From 1401 the history becomes more complete. Starting with the Leke family, the earliest known dynasty at SSH, responsible for commissioning the most recent hall completed in 17297 represented by their family crest still carved into the pediment of the hall.
The property stayed in the family for three-hundred and thirty-three years,8 but for much of this, the building was in its previous and less grand form, where it was witness to the English civil war, as the royalist home of the Leke’s. Opposed both politically and physically to Bolsover Castle, and its parliamentarian stronghold who seized the hall.9 SSH was finally inhabited by the third and most notable
4 (Historic England, ListedBuildingsIdentificationandExtent , n.d.)
5 “Sutton Hall”, annon, n.d., https://www.peakdistrictonline.co.uk/sutton-hall/, (Accessed 22 December 2022)
6 “Sutton Hall”, annon, n.d., https://www.oldminer.co.uk/sutton-hall.html, (Accessed 22 December 2022)
7 Historic England, “SuttonScarsdaleHall”, 1984, https://historicengland.org.uk/listing/the-list/list-entry/1108914?section=official-listentry, (Accessed 28 December 2022)
8 (annon, SuttonScarsdaleHall , n.d.)
9 Gen Genn, 2022. “Abandonedgrandeur:Thefadingbeautyoftheoncelavishabode SuttonScarsdaleHall”, https://thebacktolife.com/abandoned-grandeur-the-fading-
family, the Arkwright’s of Cromford Mill’s.10 Bought in 1824 by Richard Arkwright Jr, son of “the father of the modern industrial factory system,”11 who is a significant reason for the World Heritage Status of the nearby Derwent Valley Mills.12 Bidding to have the lasting impact on the hall, the estate was ‘notably’ sold to asset strippers in 1919. Now ruthlessly stripped the hall was left
In 1946, twenty-six years ruined, the hall had no foreseeable future in a climate of economic decline, its demolition13 was imminent Until Sir Osbert Sitwell was persuaded by a local resident to purchase the ruin to save it from complete demolition. Under the Sitwell family ownership14, the hall was listed in 1951,15 only five years after the first listing,16 and with further campaigning to the Department of Environment, the property was taken into guardianship in 1970.17 Completing repairs in 199218 to freeze the building in its state.
beauty-of-the-once-lavish-abode-sutton-scarsdale-hall2/?fbclid=IwAR13UP1G5OUw1UHexR43mM1clbThlT43MJwuF2DuPBO1YM8gVGQKCOgPcA, (Accessed 27 December 2022)
10 (SuttonHall , annon, n.d.)
11 “SirRichardArkwright(1732 - 1792)”, BBC, https://www.bbc.co.uk/history/historic_figures/arkwright_richard.shtml, (Accessed 29 December 2022)
12 “DerwentValleyMills”, UNESCO, https://whc.unesco.org/en/list/1030/, (Accessed 11 January 2023)
13 “TheLongWeekend:LifeintheEnglishCountryHouse1918-1939byAdrian Tinniswood – review”, Rachel Cooke, 2016, https://www.theguardian.com/books/2016/may/15/long-weekend-life-englishcountry-house-adrian-tinniswood-review, (Accessed 22 December 2022)
14 (HistoryofSuttonScarsdaleHall , English Heritage, n.d.)
15 (SuttonScarsdaleHall”, Historic England, 1984)
16 “AboutTheList”, Historic England, n.d., https://historicengland.org.uk/listing/the-list/about-the-list/, (Accessed 27 November 2022)
17 (HistoryofSuttonScarsdaleHall , English Heritage, n.d.)
18 (SuttonHall , annon, n.d.)
1: Hall internal where stone architraves and details have been stripped
Figure 2: Sutton Scarsdale Hall room on display at the Philadelphia Museum of Art annon, n.d., Available at: https://philamuseum.org/collection/object/42067
Figure 3: Historic image of the grand staircase when the hall was occupied anon, 1919, available at: https://en.m.wikipedia.org/wiki/File:Entrance_and_hallway_Sutton_Scarsdale_Hall_1 919.jpg
Figure 4: Historic Image of an internal room at SSH when the hall was occupied anon, n.d., Avaiable at: https://www.alamy.com/stock-image-entrance-hall-suttonscarsdale-hall-1919-167589167.html?imageid=ADBD5174-8613-436F-8F6289D6DCD0BD11&p=563389&pn=3&searchId=8f2455dd49a9b366503d75538c69f74d &searchtype=0
Historic buildings characterise England and represent its history Due to natural and societal threats, many properties risk being irreparably damaged or lost. Sutton Scarsdale Hall (SSH) threatened by both nature and the conflicts “of local and national representation.”19
Legislative and physical protection exist to preserve heritage properties but little physical protection besides reported costly patch-ups has been done.20 But while the LPA often rigorously enforce policy,21 they have shown reluctance to impose statutory implications 22 to prevent the loss of history that can be heard falling away.23
EH acknowledges that these repairs “cannot be a long-term solution”24 economically. As EH funds are finite and split across nearly four-hundred sites, “those buildings with the greatest need”25 are prioritised. These harsh economic realities pertinent to SSH witnessed historically in its dismantlement are being relived, informing decisions on the feasibility of investment and restoration.
19 Jonathan Hill, TheArchitectureofRuinsDesignsonthePast,PresentandFuture , (Abingdon: Routledge, 2019), p. 191
20 (Laurence, 2020)
21 Martin Robertson, conservationandauthenticity , in Michael Forsyth (ed.), UnderstandingHistoricBuildingConservation,(Oxford: Blackwell Publishing Ltd, 2007), p. 26
22 (Pickles, 2018) p. 5
23 Review by Mark Anthony, Sutton Scarsdale Hall, Google Reviews, c 2018, https://www.google.com/search?q=sutton+scarsdale+hall (Accessed 23 December 2022)
24 (Laurence, 2020)
25 “Our Priorities”, English Heritage, https://www.english-heritage.org.uk/aboutus/our-priorities/, (Accessed 27 December 2022)
Understanding that SSH exists both physically and artificially could influence future conservation methods. Firstly, it exists as a ruin with remnants of ornate plasterwork. Stated in an interview undertaken for this essay with a respected master plasterer, Phillip Gaches, “these glimpses of the grandeur of the house [make it possible] for visitors to get a feeling of how important the house was architecturally.”26
Additionally, materials separated from the site exist in other houses,27 and entire rooms were auctioned to wealthy individuals in America.28 These interiors exist in private collections, storage,29 and the Philadelphia Museum of Art.30
SSH was also immortalised artificially. Firstly, in the 1945, Oscar winning movie ‘Kitty’.31 As well as the ruin in the 2016 movie ‘Batman Vs. Superman’ scanned and incorporated through CGI. Though not tangible, SSH will remain through the films and their audiences’ memories, regardless of its physical future. Questioning if artificial assets could now become valid as a “way of preserving [a building’s] history?” 32
26 Correspondence between author and Phillip Gaches, (14 January 2023)
27 “TheArkwrightsofSuttonScarsdaleHall -Thehistoryoftheruinedstatelyhome”, Catherine Roth, 2019, https://www.greatbritishlife.co.uk/homes-and-gardens/placesto-live/22630848.arkwrights-sutton-scarsdale-hall history-ruined-stately-home/ , (Accessed 22 December 2022)
28 “Frompaintingstoentirecastlerooms,UKtreasuresthatvanishedinAmerica”, Robin Stummer, 2017, https://www.theguardian.com/culture/2017/mar/05/arthistorians-seek-missing-uk-treasures-us-hearst-hoard-return-to-britain, (Accessed 22 December 2022)
29 (SuttonScarsdaleHall(SuttonHall) , Curt DiCamillo, n.d.)
30 “InteriorArchitecture,possiblyfromSuttonScarsdaleHall” , annon., n.d., https://philamuseum.org/collection/object/42067, (Accessed 28 December 2022)
31 (TheArkwrightsofSuttonScarsdaleHall -Thehistoryoftheruinedstatelyhome , Catherine Roth, 2019)
32 English Heritage, 2016. “DigitalDoubles:Howtorecreatearuinforthecinema”, https://www.english-heritage.org.uk/visit/inspire-me/blog/blog-posts/digitaldoubles-how-to-recreate-a-ruin-for-the-cinema/, (Accessed 22 December 2022)
Visitors’ opinions vary on SSH’s future. Some proposing to demolish it,33 whilst others wonder if anyone “will… have the courage (and cash) to restore it.”34 The remainder would be satisfied with any action from EH.35
In 2020, the chairman of EH, proposed options for the conservation of SSH Options ranging from re-roofing to tailor-made protection for the plasterwork, all compromising the hall's aesthetics.36 Understood from the proposals is a scale of EH’s values; ranking aesthetics and cost above conservation, and the ornate plasterwork as the element that characterises the history of the property. Unsurprisingly, the actuality of these interventions depends on funding, addressed finally by suggesting “selling to a private investor.”37 Abruptly juxtaposing EH’s policy that “heritage is for everyone”38 by not “putting England's heritage ahead of private interest.”39 Despite being controversial, subject to a likely unrealistic planning consent, and requiring a dedicated and wealthy investor, it is known that historic buildings “are social artefacts that rely on use for their significance”40 to be retained With these opinions in mind, and the little conservation completed by EH, does a private SSH
33 Review by OccasionalTouristFP, Sutton Scarsdale Hall, TripAdvisor, 2017, https://www.tripadvisor.co.uk/Attraction_Review-g209967-d3398512-ReviewsSutton_Scarsdale_Hall-Chesterfield_Derbyshire_England.html, (Accessed 23 December 2022)
34 Review by Inky2, Sutton Scarsdale Hall, TripAdvisor, 2014, https://www.tripadvisor.co.uk/Attraction_Review-g209967-d3398512-ReviewsSutton_Scarsdale_Hall-Chesterfield_Derbyshire_England.html, (Accessed 23 December 2022)
35 Review by Matt P, Sutton Scarsdale Hall, Google Reviews, c 2022, https://www.google.com/search?q=sutton+scarsdale+hall (Accessed 23 December 2022)
36 (Laurence, 2020)
37 (Laurence, 2020)
38 (English Heritage, Our Priorities, n.d.)
39 (English Heritage, Our History, n.d.)
40 (Chandler and Pace, 2020), p. 43
ironically fulfill EH’s policies of putting its heritage first, to enhance41 education, accessibility, inclusivity, safety, engagement, imagination, and enjoyment.42
Various organisations have since shown interest in the hall’s conservation but evidentially no action. In 2009, Derbyshire Arts Development Group ran a design competition to ‘re-imagine’ the space as a new arts facility 43 Although no proposals were ever realised. In 2017, Donald Insall Associates published they were conserving the hall,44 despite their records showing no activity since 2015.45 Signage currently shows that Historic Property Restorations Ltd is appointed to complete maintenance work,46 but the last major conservation works were completed six years ago. And most recently Buttress Architects proposed potential uses for the site as a CPD but EH has neglected to discuss their proposals since.47 The lack of realisation at SSH begs the question of whether it is economics or method that is inhibiting the halls progression?
SSH positioned in the rural North of England will inevitably struggle to find investment in the weaker property market.48 Therefore inclusions on the at-risk register49 may encourage funding 50
41 (Charity Commission For England and Wales, The English Heritage Trust, n.d.)
42 “The English Heritage Trust”, Charity Commission For England and Wales, https://register-of-charities.charitycommission.gov.uk/charity-search/-/charitydetails/5015177/governing-document, (Accessed 30 December 2022)
43 “DesignerssoughtforPavilionofPostcontemporaryCurating”,Tom Banks, 2009, https://www.designweek.co.uk/issues/october-2009-online/designers-sought-forpavilion-of-postcontemporary-curating/, (Accessed 22 December 2022)
44 Hannah Parham, Renée O’Drobinak (eds.), Review2017 , (Donald Insall Asscoiates, 2017)
45 Interview between author and annon, (3 January 2023)
46 Correspondance between author and Stephen Upton, (3 January 2023)
47 Correspondance between author and Kate North, (6 January 2023)
48 (Pickles, 2018) p.1
49 (Pickles, 2018) p.4
50 (Pickles, 2018) p.4
Although SSH is defined as at-risk by HE’s own standards, it is not recognised.
Funding proven accessible; method becomes the underlying dilemma. For SSH, a full restoration would not only be physically unfeasible,51 but the ‘original’ would be undefinable amongst its numerous pasts. Though if completed would involve the erasure of the scars left by its crude dismantlement, and unarguably would be an inauthentic portrayal of its history.52 Not uncommon when referring to country houses, often regarded as the jewel in the nation's heritage crown, expressing wealth and power,53 there is no explanation of the sources of that empire-building wealth54 often close to perfect oblivion as believed by Smith.55 As with SSH the history documented is curated around the gentry and their illustrious lifestyles56 with little interrogation, as believed by Soane “history is an interpretation of the past… never neutral and always partials”57 supported by Minor, history is “more often a ‘reconstruction’ than a definitive record.”58 SSH was no exception evident by Arkwright’s wealth being inextricably linked to the slave trade and child labour.59 Unquestionably other stories of the
51 (Laurence, 2020)
52 (Chandler and Pace, 2020), p. 18
53 Madge Dresser and Andrew Hann (eds.), 2013, “SlaveryandtheBritishCountry House”, https://historicengland.org.uk/images-books/publications/slavery-andbritish-country-house/
54 Zadie Smith, 2020, “WhatDoWeWantHistorytoDotoUs?” https://www.nybooks.com/articles/2020/02/27/kara-walker-what-do-we-wanthistory-to-do-to-us/?lp_txn_id=1414385
55 (Zadie Smith, 2020, “WhatDoWeWantHistorytoDotoUs?”)
56 Review by Neil_in_Sheffield_UK, SuttonScarsdaleHall , TripAdvisor, 2014, https://www.tripadvisor.co.uk/Attraction_Review-g209967-d3398512-ReviewsSutton_Scarsdale_Hall-Chesterfield_Derbyshire_England.html, (Accessed 23 December 2022)
57 (Jonathan Hill, 2019, p.187)
58 (Jonathan Hill, 2019, p.33)
59 Craig Simpson, 2022, “Itwasn’tjustslaveswhosufferedtopowertheIndustrial Revolution,admitsEnglishHeritage”,
exploitation and treatment of people in the creation and life of SSH, will be directly and indirect linked to colonialism and slavery60 and have been omitted in the telling of its history.
Francis Smith was an acclaimed architect in the C18th.61 The new construction employed high-status material62 and notable craftsmen from the UK and abroad 63 Creating a building fit for a monarch 64 The cost of the build and its upkeep left the owner in severe debt and was forced to sell.65
Considering this “a society may question what it should monumentalise and what it should ruin, and give differing answers at differing times,”66 questioning what “we want our monuments to help us commemorate our glories, our sufferings?”67 In the case of SSH Hill believes the act of “conserving an ancient site is a means to emphasise… and even transform the values it represents.”68 Giving space to highlight and respect the past, whilst encouraging changing of attitudes69 and the values that this testament to 18thcentury wealth represents to be transformed and reinterpreted through design.70 Robertson believes that authenticity should be
60 National Trust, n.d., “Addressingourhistoriesofcolonialismandhistoricslavery”, https://www.nationaltrust.org.uk/who-we-are/research/addressing-our-histories-ofcolonialism-and-historic-slavery
61 “FrancisSmith”, Parks & Garden, n.d., https://www.parksandgardens.org/people/francis-smith, (Accessed 6 January 2023)
62 (Philip Wilkinson, TheShockofTheOld,AguidetoBritishbuildings , 2001), p.88
63 “HistoryofSuttonScarsdaleHall”, English Heritage, https://www.english-heritage.org.uk/visit/places/sutton-scarsdale-hall/history/, (Accessed 18 December 2022)
64 Philip Wilkinson, TheShockofTheOld,AguidetoBritishbuildings , (London: Channel 4 Books, 2001), p.94
65 (SuttonHall , annon, n.d.)
66 (Jonathan Hill, 2019, p.296)
67 (Zadie Smith, 2020, “WhatDoWeWantHistorytoDotoUs?”)
68 (Jonathan Hill, 2019, p.296)
69 Sigfried Giedion, Space,TimeandArchitecture:TheGrowthOfAnewTradition , (Massachusetts: Harvard University Press, 2008), p.5
70 (Jonathan Hill, 2019, p.i)
Figure 5Replaced stone details at eaves level next to original detail, showing level of decay over time
Figure 6 Lead capping on East pediment to prevent further weather damage
71 (Martin Robertson, conservationandauthenticity , 2007), p. 31
72 (Zadie Smith, 2020, “WhatDoWeWantHistorytoDotoUs?”)
8: Fitting from the North entrance where the doorbell would have once been
Figure 7: Remaining tiles from the hall remain in place. Chris Seddon, n.d., Available at: https://derbyshirephotos.wordpress.com/2009/08/28/sutton-scarsdale-hall/
Figure 9: Internal render from the Boyarsky Murphy Architects competition proposal anon., n.d., Available at: https://boyarskymurphy.com/portfolio/sutton-scarsdale/
Where is the history and spirit of the place?
With various reviews of the hall stating, “Get rid of the fences!”73 the value seems to have been lost due to the lack of intimacy they cause. Although “there are tiny glimpses of the magnificent rooms that once made up this house”,74 it “will be better when you can get inside”75 as you “can't really enjoy the experience.”76 With many visitors saying it will take no more than ten minutes77 or not to bother,78 this point is reinforced that the historic value is “stored in physical things, remnants, even rubble”79 and the intimacy people have with them. English Heritage believes that “nothing beats standing on the spot where history happened.”80 Agreed by Zumthor, “nothing is more powerful than the historical substance itself,”81 yet this physical separation continues to divide the building and people over eight years later.
73 Review by Peter Goodier, SuttonScarsdaleHall , Google Reviews, c 2021, https://www.google.com/search?q=sutton+scarsdale+hall (Accessed 23 December 2022)
74 Review by DrSL, SuttonScarsdaleHall , TripAdvisor, 2013, https://www.tripadvisor.co.uk/Attraction_Review-g209967-d3398512-ReviewsSutton_Scarsdale_Hall-Chesterfield_Derbyshire_England.html, (Accessed 23 December 2022)
75 Review by Rob Martin, SuttonScarsdaleHall , Google Reviews, c.2018, https://www.google.com/search?q=sutton+scarsdale+hall (Accessed 23 December 2022)
76 Review by Dean Foster, SuttonScarsdaleHall , Google Reviews, c.2018, https://www.google.com/search?q=sutton+scarsdale+hall (Accessed 23 December 2022)
77 Review by Tracey O'Callaghan, SuttonScarsdaleHall , Google Reviews, c.2021, https://www.google.com/search?q=sutton+scarsdale+hall (Accessed 23 December 2022)
78 Review by Ian Sawyer, SuttonScarsdaleHall , Google Reviews, c.2018, https://www.google.com/search?q=sutton+scarsdale+hall (Accessed 23 December 2022)
79 Peter Zumthor and Mari Landing, AFeelingofHistory , (Zurich : Scheidegger & Spiess), p.26
80 (English Heritage, OurVision&Values , n.d.)
81 (Zumthor and Landing, 2018, p.25)
When referring to a trip to Pompeii Stendhal emphasises that experiencing the ruins first-hand offers experiential immediacy, allowing “you to immediately know more of the history than a scholar who has read”82 about the place. Although the literature held on SSH allows visitors to briefly understand the factual history, the actual history or felt history83 that evokes the invisible history of a place that Stendhal describes is cut off 84 The actual history of Sutton Scarsdale therefore must lie behind the fences as part of the ruin
Repeated by visitors to SSH the building is a shell,85 although “a very poignant place that's much more.”86 SSH is “a real piece of history”87 with this history “written in its stones, bricks and landscapes”88 of the ruin as put by EH. But from the abundant use of the term shell, defined as an outer case, the soul of the place appears to be held in something beyond the ruin. In the eighteenth century, the immaterial was characterised as being distinct from the material although present in it.89 Walter Benjamin describes ruins as an “objects that physically merge[s] history and setting” bringing to question if it is the setting that holds the immaterial spirit of the
82 (Zumthor and Landing, 2018, p.18)
83 (Zumthor and Landing, 2018, p.16)
84 (Zumthor and Landing, 2018, p.11)
85 Review by Tom K, SuttonScarsdaleHall , TripAdvisor, 2013, https://www.tripadvisor.co.uk/Attraction_Review-g209967-d3398512-ReviewsSutton_Scarsdale_Hall-Chesterfield_Derbyshire_England.html, (Accessed 23 December 2022)
86 Review by Elfi, SuttonScarsdaleHall , TripAdvisor, 2015, https://www.tripadvisor.co.uk/Attraction_Review-g209967-d3398512-ReviewsSutton_Scarsdale_Hall-Chesterfield_Derbyshire_England.html, (Accessed 23 December 2022)
87 Review by Derrick Blower, SuttonScarsdaleHall , Google Reviews, c.2020, https://www.google.com/search?q=sutton+scarsdale+hall (Accessed 23 December 2022)
88 (English Heritage, OurPriorities , n.d.)
89 (Jonathan Hill, 2019, p.62)
place. Zumthor believes that “landscapes and places always store memories … they are real, they are unique, they’re always authentic”.90 Zumthor clarifies that “memory and history are not the same but may intermingle”91 this distinguishes the differentiation of where the spirit of the place lies. Closely related to the histories of the site, whether factual or actual, global or personal, but clearly separate and grown on the memories of the individual beholder, as Hebel describes distorting temporalities 92 Memory affected by site, context and history is at least part of the spirit of the place
Under the listing of SSH specific elements of the building are noted as to what characterises the building, included were the “sandstone ashlar,” that “may be remains of the C17 house that stood on the site” the arrangement of the details and fenestrations on the façade, and the forms of the building and plan. As well as a reference to the interiors “fragmentary remains of C18 plasterwork by Artari and Varsalli,” and “the rooms [that] are preserved in the Philadelphia Museum.”93 The Victoria and Albert Museum in London also contains decontextualised rooms like PMOA. From visiting these rooms, although not from SSH, I was able to understand how these rooms are conserved and displayed. Although the rooms appear immaculate on closer inspection you can see the blemish left by the lives lived in the buildings, the carved stonework chipped around the grand fireplace, the ornate paintwork on architraves rubbed away, even to the squeaky oak floorboards underfoot. Upon reflection, these rooms held history and illustrated it well, much like the elements covered in the listing, but did not hold the spirit that provokes emotion like the ruin at SSH and as such felt inauthentic. Although I believe that it is a shame the ruin does not still retain these intimate moments of contact with the fabric of the building including the doorknob that has been polished by centuries of use, I
90 (Zumthor and Landing, 2018, p.21)
91 (Zumthor and Landing, 2018, p.21)
92 Hebel in (Zumthor and Landing, 2018, p.10)
93 (SuttonScarsdaleHall , Historic England, 1984)
don’t feel that alone these elements retain the character of Sutton Scarsdale Hall’s history. Maybe this is due to the lack of context of the room, how when you touch that door handle it isn’t bitterly cold from the outside weather, the stone hearths warmth from the fire, and how when you sit on a window seat you can’t see the same hills that would have once been enjoyed from it, or the change in the atmosphere from the blue morning sun to the golden sunset. This with Benjamin and Zumthors views illustrates that the environmental context plays a significant role in spirit of the place
The Multiple Authors
SSH is best described as a palimpsest, an object that has been altered over time but still holds traces of the original, “a metaphor for the passage of time.”94 Like humans who “have their birth, their growth, their growing old, and their death”95 ruins evoke all these stages within a single object, this is witnessed at SSH, being described as “in a time warp.”96
“The process of ruination begins the day that construction”97 starts when the raw materials of the building are first set in place. Following their occupancy, ruins begin to “[emphasise] the symbiotic relations between nature and culture”,98 and architecture, and the many authors “whether human, non-human or atmospheric”99 that have played a role in creating its present form, whether that’s by chance or design.100 Following the construction in 1724 by Francis Smith101 the existing hall has seen many lives before
94 (Jonathan Hill, 2019, p.245)
95 (Jonathan Hill, 2019, p.33)
96 Review by Alan A, SuttonScarsdaleHall , TripAdvisor, 2018, https://www.tripadvisor.co.uk/Attraction_Review-g209967-d3398512-ReviewsSutton_Scarsdale_Hall-Chesterfield_Derbyshire_England.html, (Accessed 23 December 2022)
97 (Jonathan Hill, 2019, p.268)
98 (Jonathan Hill, 2019, p.i)
99 (Jonathan Hill, 2019, p.i)
100 (Jonathan Hill, 2019, p.80)
101 (SuttonScarsdaleHall , Historic England, 1984)
its redundancy in 1920 and since. Sadly, the elements that would have been touched, held, knocked, and broken, and therefore shown the individual lives of the building in its patina, have since been removed and reinstated in new contexts. The only scars that now remain are those caused by asset stripping, natural erosion, and the names carved into the soft sandstone. Seen by some as graffiti these marks still display a set of more personable histories that have taken place in the site, stories of relationships between people and between people and place.
Not only does weather affect the physical fabric of the structure through erosion but it also alters the perceived experience of the place. SSH seems to reveal itself in many personalities, responding to the conditions. On a foggy day appearing atmospheric102 with something melancholy about it.103 Compared to in the summer setting sun, becoming a romantic ruin on a windswept hillside.104
Ruins, the baroque and imagination SSH was designed in the Baroque style,105 known for its imposing and dramatic architecture and used as a statement of the power of its owners, an effect still displayed at SSH today. Baroque grew in momentum throughout Europe in the 17th and 18th centuries, characterised by the use of precious materials, and the representation of natural forms to convey specific meanings and
102 Review by Derrick Hawkins, SuttonScarsdaleHall , Google Reviews, c.2020, https://www.google.com/search?q=sutton+scarsdale+hall (Accessed 23 December 2022)
103 Review by Red P, SuttonScarsdaleHall , TripAdvisor, 2015, https://www.tripadvisor.co.uk/Attraction_Review-g209967-d3398512-ReviewsSutton_Scarsdale_Hall-Chesterfield_Derbyshire_England.html, (Accessed 23 December 2022)
104 Review by Belvedere007, SuttonScarsdaleHall , TripAdvisor, 2014, https://www.tripadvisor.co.uk/Attraction_Review-g209967-d3398512-ReviewsSutton_Scarsdale_Hall-Chesterfield_Derbyshire_England.html, (Accessed 23 December 2022)
105 (HistoryofSuttonScarsdaleHall , English Heritage, n.d.)
emotions. 106 In the 18th century, the appreciation of ruins also became popular,107 often appearing in landscape paintings, and designs for larger country estates.108 Claude Lorrain a baroque painter, known for his landscape paintings depicted ruins covered in vegetation, merging with the hills and trees, representing the end of life is close109 whilst retaining the power of architecture, as a heroic resistance to decaying forces of nature110. The way the architecture’s forms are reclaimed by nature almost romantically follows the rules of the baroque style. Seeing SSH in its current ruinous state I can't help but wonder if Francis Smith would see it as a ruin or in a more divine state than could have been created. Louis Khan would argue that it was most likely an inevitable fate from a carefully crafted building that it “would produce a marvellous ruin”.111
Piranesi, an architect and artist, and visitors alike agree that a monumental ruin, such as SSH, is an even “greater stimulus to the imagination”112 than a complete building, whilst “[retaining] much of its original character.”113 The ambiguity of the incomplete building allows you to “imagine yourself immersed in the past as you wander through the ruins”.114 Not only does the imagination play on how the architecture has changed but “who lived and visited there and what kind of life took place under its roof”115 imagining “the present and the future in a single architecture.”116
106 “TheBaroquestyle”,Victoria and Albert Museum, n.d., https://www.vam.ac.uk/articles/the-baroque-style, (Accessed 28 December 2022)
107 (Jonathan Hill, 2019, p.86)
108 (Jonathan Hill, 2019, pp. 80-81)
109 (Jonathan Hill, 2019, p.41)
110 (Jonathan Hill, 2019, p.94)
111 (Jonathan Hill, 2019, p.244)
112 (Jonathan Hill, 2019, p.94)
113 Review by Steve R,SuttonScarsdaleHall , TripAdvisor, 2013, https://www.tripadvisor.co.uk/Attraction_Review-g209967-d3398512-ReviewsSutton_Scarsdale_Hall-Chesterfield_Derbyshire_England.html, (Accessed 23 December 2022)
114 (Review by Steve R, SuttonScarsdaleHall , TripAdvisor, 2013)
115 (Review by Inky2, SuttonScarsdaleHall , TripAdvisor, 2014)
116 (Jonathan Hill, 2019, p.187)
Despite the ruin offering an opportunity for imagination some visitors still desire an opportunity to learn with people coming “away wanting to know more”117 of the factual history of the “evocative Ruins.”118 A visitor suggested “more photographs of the interiors… would help to bring the site more alive.”119 Whilst others opt for a ‘lived approach’, “When you stand on the far side of the building and look back at it, the whole building takes on a new persona. It is as if you can see it as it was back then.”120
117 Review by Lpedley, SuttonScarsdaleHall , TripAdvisor, 2014, https://www.tripadvisor.co.uk/Attraction_Review-g209967-d3398512-ReviewsSutton_Scarsdale_Hall-Chesterfield_Derbyshire_England.html, (Accessed 23 December 2022)
118 Review by Stephen C, SuttonScarsdaleHall , TripAdvisor, 2016, https://www.tripadvisor.co.uk/Attraction_Review-g209967-d3398512-ReviewsSutton_Scarsdale_Hall-Chesterfield_Derbyshire_England.html, (Accessed 23 December 2022)
119 Review by Andrew S, SuttonScarsdaleHall , TripAdvisor, 2014, https://www.tripadvisor.co.uk/Attraction_Review-g209967-d3398512-ReviewsSutton_Scarsdale_Hall-Chesterfield_Derbyshire_England.html, (Accessed 23 December 2022)
120 Review by World Lover, SuttonScarsdaleHall , TripAdvisor, 2015, https://www.tripadvisor.co.uk/Attraction_Review-g209967-d3398512-ReviewsSutton_Scarsdale_Hall-Chesterfield_Derbyshire_England.html, (Accessed 23 December 2022)
Figure 14: Photos of the ornate plasterwork that remain within SSH. Brian T, 2020, Available at: https://dynamic-media-cdn.tripadvisor.com/media/photoo/1c/59/72/47/sutton-scarsdale-hall.jpg?w=1400&h=-1&s=1
Inextricably linked to national and individual histories, the thousand-year-old hall has existed through various forms and notable occupations. Now left in the guardianship of EH, following its abandonment and dismantlement, it faces increasing natural and societal threats with little aid offered by physical or legislative protection. Seemingly, the harsh economic realities present throughout its life are still active now.
SSH now exists in many parts both physically, artificially and in memory, with visitors, stakeholders and theorists alike questioning the best approach for its conservation. With possible funding identified, the method of conservation becomes the underlying dilemma, witnessed in a decade of fruitless proposals.
SSH, now existing behind the ring of temporary fencing, the intimacy with the felt history, gained by “standing on the spot where history happened,” 121 has been lost. Zumthor clearly differentiates history and memory, where memory is intrinsically linked to the environment and the spirit of the place, and history with the fabric. This is witnessed in the rooms held at the V&A being full of history but devoid of the spirit because of the disconnect from the environment. Compared to the ruin that has a luring sense of spirit, but its ability to be understood by felt history has been halted.
The ruin described as a palimpsest is permanently changing, with various authors both human and natural, playing a role in its creation and inevitably its ruination. Weather erodes the harsh stone into soft curves and alters the perception of the ruin in its landscape, while keys carve out a tapestry of the hall’s relationship with people in its stonework
121 (English Heritage, OurVision&Values , n.d.)
In the 18th-century both the baroque country house and ruins embodied the same principles, powerfully representing nature, emotions, and meaning. With the ruinous architecture often inspiring the imagination grown from the ambiguous framework of the decaying structure. The blurring of these forms inspires the question, when designing SSH did Francis Smith like Khan believe that it was destined to “be a marvellous ruin?”
Could the ruin be released from its fenced-off cage, changing from a maintained ruin to a live ruin? As the 18th Century architects created ruins that could be discovered time and time again, integrated with their landscape, offering an opportunity for learning and appreciating the tectonics of the constructed world, SSH could offer the same Baroque values as a natural product allows imagination to thrive. Sutton Scarsdale through all of its decay has almost ironically become purer to its original design intentions of the Baroque in its state of ruin, integrated more than ever with its environment, baring the careful marks of its authors The blurring of temporalities achieved by this building are one of the greatest feats of the Baroque movement.
This research therefore, confirms the possibility for conservation but, like ruins themselves, establishes the framework to inspire and encourage a creative occupation of SSH, to preserve and build on authentic history and spirit of the place.
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PLEASE NOTE ALL IMAGES INCLUDED IN THE DOCUMENT HAVE BEEN CREATED BY THE AUTHOR UNLESS OTHERWISE STATED
Figure 1: Hall internal where stone architraves and details have been stripped 9
Figure 2: Sutton Scarsdale Hall room on display at the Philadelphia Museum of Art annon, n.d., Available at: https://philamuseum.org/collection/object/42067 9
Figure 3: Historic image of the grand staircase when the hall was occupied anon, 1919, available at: https://en.m.wikipedia.org/wiki/File:Entrance_and_hallway_Sutton_Scarsdale_Hall_1 919.jpg 10
Figure 4: Historic Image of an internal room at SSH when the hall was occupied anon, n.d., Avaiable at: https://www.alamy.com/stock-image-entrance-hall-suttonscarsdale-hall-1919-167589167.html?imageid=ADBD5174-8613-436F-8F6289D6DCD0BD11&p=563389&pn=3&searchId=8f2455dd49a9b366503d75538c69f74d &searchtype=0 10
Figure 5Replaced stone details at eaves level next to original detail, showing level of decay over time 17
Figure 6 Lead capping on East pediment to prevent further weather damage 17
Figure 8: Remaining tiles from the hall remain in place. Chris Seddon, n.d., Available at: https://derbyshirephotos.wordpress.com/2009/08/28/sutton-scarsdale-hall/ 18
Figure 7: Fitting from the North entrance where the doorbell would have once been 18
Figure 9: Internal render from the Boyarsky Murphy Architects competition proposal anon., n.d., Available at: https://boyarskymurphy.com/portfolio/sutton-scarsdale/ 18
Figure 11: Outline of previously adjoined structure scored into existing stone work 19
Figure 10: Frame taken from the movie Kitty showing a SSH room in use. Annon, 1945?, Available at: https://www.imdb.com/title/tt0037849/ 19
Figure 15: Construction scraps abandoned inside hall 20
Figure 14: Heras fencing surrounds the entire perimetre with various warning signs about the hazardous condition of the hall 20
Figure 17: Photos of the ornate plasterwork that remain within SSH. Brian T, 2020, Available at: https://dynamic-media-cdn.tripadvisor.com/media/photoo/1c/59/72/47/sutton-scarsdale-hall.jpg?w=1400&h=-1&s=1 28
Figure 16: Ornate plasterwork now only visible through first floor window openings when viewed from the edge of the estate 28
Figure 19: Decontextualised room on show at the Victoria and Albert Museum, similar to those at SSH now in PMOA 29
Figure 18: Setting sun casting shadows through the ruin, ornate plasterwork seen through fenestrations on first floor 29
Figure 20: Names carved into the sandstone of the hall, dating back decades with previously unfinished professional carvings faded 30