ARCHITECTURAL HISTORY :EPOCHS THE IM PACT OF NEO-CLASSICISM ON THE CITY OF LIVERPOOL
BY :NUR HANIM OHD AZAHARI 2015/2016
Cities are arguably humankind’s most impressive show of civilisation, providing order from chaos, unity in society and the integration of ideas. The moment our ancestors decided to stop living the nomad life and chose to settle down at a permanent place, it encourages the development of architecture and ideas in order to make life better. A city is an embodiment of its people, culture and lifestyle. Each is unique to its own properties, which is why we say cities have different characters, much like people with their different personalities. Depending on where it is located and what it does to thrive and survive through the tides of times, cities are shaped by their past and modelled for the future. Liverpool is no different; developing from a meager port to a booming city in the 21st century. Like many other cities in Northern England, Liverpool experienced a myriad of architecture styles during its existence, and many has left its marks on the city; whether it is in the arts that we enjoyed, or the buildings we depend on for shelter. One of the most notable styles that have left quite an impact on the city is Neoclassicism. As such, it raises the consideration of the effect of Neoclassicism and the gravity of it in shaping Liverpool into the city that we know today.
Architecture styles come and go, leaving their marks in different places, cities and continents. Likewise, before Neo-Classicism hits Liverpool, there is the late Georgian architecture. However the transition is not as smooth as jumping from one era of style to another. It is probably more suited to say that several styles existed and to a moderate extent, competed against each other in the same period of time. This results in the juxtaposition of buildings of
contrasting and distinctive styles, nearby each other. In Liverpool, they are even situated right across each other. These are the St George’s Hall, built in its Neo-classical style and the former North Western Hotel of Gothic influences. The sharp tower pinnacles decorating the corners of the Gothic towers provides an eloquent comparison to the simplicity of the building opposite it. Depending on the eye of the beholder, one might see it as a disturbing clash of styles or a coherent integration of different architecture styles at the same place. I chose to believe in the latter one, as many of these contrasting styles of building still exists harmoniously today, in addition to the more recent erection of modern buildings made of modern materials. Like different species living in the same ecosystem, these buildings built in different styles have coexisted in Liverpool. As many styles seemed to exist in the same period of time, Liverpool may have been quite experimental in its architecture but Neo-classicism has undoubtedly made its mark, leaving some of the most beautiful buildings in the city today.
! Drawing 1: One of the towers of the North Western Hotel, showing some distinctive, unique Gothic elements. “The Gothic spires and turrets are typical of the work of Alfred Waterhouse, and this is another of his Prague rooflines, with swirls of close-fitting slates like sleek armour, steeply pitched roofs and tiny spiky turrets.” (Anon., 2009)
Neo-Classicism is ‘the enlightenment of the mid-18th century brought with it a new emphasis on the scientific study of the past, and people began to look more closely at the ruins of Ancient Greece and Rome.’ (Cragoe, 2008, p. 40) But how does Neo-Classicism finds its way into Liverpool in the first place? Does the society at that time has a say in what they want or is a style something that just comes and go without you really noticing it until it has gone away?
Since Liverpool started as a small fishing village, it is most likely that in the medieval times there exists small dwellings sheltering families and a few larger buildings where the society meets and gathers. However, none of the buildings of this era has made it into the modern world today, unlike buildings from the later era. This shows that with time and experience, the locals learned to use new and better materials and the designs are influenced by the styles resonating in the city at that time. Buildings are like pictures of the society’s development at a particular period of time, much like taking a screenshot of said civilization and society. ‘The enthusiasm for classical antiquity permeated much of the scholarship of the time. In the late 18th century; the ancient world increasingly became the focus of scholarly attention.’ (Anon., 2011) If so, perhaps from the many huge, Neo-classical building we can see in Liverpool today, we can deduce that people at that time were heavily influenced by this style and quite like the idea of reviving older Greek and imperial Roman architecture. In fact, ‘For public buildings Neo-classicism is the norm.” (Pollard, et al., 2016, p. 63), proof of how much the people of Liverpool really did embrace this style in the times of commerce and well-hidden poverty, perhaps because it gives the hope of an utopian city.
Drawing 2: The two most common orders from ancient Greece and Roman. Columns are a recurring theme in famous Neo classical buildings in Liverpool.
Having said that, it is quite clear that the biggest mark Neo-classicism left in Liverpool is in the buildings, the ones that exist back then and more noticeably the ones we can still see today. The aforementioned St George’s Hall designed by architect Harvey Elmes is one of the important buildings, more so because of its position at the center of the city. Its sheer size alone makes the building impressive, in addition to the free standing Corinthian columns creating a clean appearance. The interior of the building is no less breathtaking, especially the Main Hall
with its equally amazing columns and extensive coffered ceilings. The building was initially built to serve two purposes; as a concert hall and a law-court, merged brilliantly into one building. ‘Its success as a design comes from its simple, logical form, the severity of its classical symmetry and the restrained gravity of its Corinthian-style details.’ (Risebero, 1983) The vast portico also helps gives off a sense of grandeur in the densely packed city of commerce. Due to its size, it is quite a monumental piece of architecture in the city, almost a beacon of cultural embrace.
Source: own photograph. Photograph 1: The long façade of St George’s Hall showcasing an impressive plethora of Corinthian columns. The building resembles a temple, as many Neo-classical buildings do.
Source : own photograph Photograph 2: An exhibition taking place in present day Main Hall inside St George’s Hall. The opulence and grandeur of the hall surrounds the locals arranging society-oriented activities such as exhibitions.
Another building worth mentioning is the neighboring circular Picton library by architect Cornelius Sherlock, now part of the larger Liverpool Central Library. The library, famous for being one of the earliest main libraries in the country to have electrical lighting installed, is also known for its shallow Roman dome, as seen in the notorious Pantheon. While the rounded reading room on the inside seemingly embraces visitors to enter, sit down and read while being
surrounded by thousands of volumes of books around them; the exterior opens out to viewers outside, parading its rows of Corinthian column to the world. While the building is built 23 years after St. George’s Hall, its Neo-classical designs are almost reflecting the architecture of the former building.
Drawing 3: Corinthian columns encircling the library on the outside, acting as a structural support as well as serving aesthetic purposes.
Source : own photograph Photograph 3: The circular domed interior of the library, nowadays functioning as a quiet reading room. The layout of the tables almost resembles a flower, which is pleasantly coincidental with the flower shaped lamp at the center of the room.
Apart from these two buildings, the Walker Art Gallery situated next to the library is also built in similar style, creating this pleasant bundle of Neo-classicism in the heart of Liverpool. The gallery’s façade is in resonant to the library next to it, with its six Corinthian columns with pediment, and a portico although not as vast as that of St George’s Hall. Over the years, the gallery went through a number of extension process and if one was to walk inside the gallery today, they would find it to be much larger in size compared to its appearance outside, especially from the façade.
To this day, this trio cluster of buildings continues to attract architecture
enthusiasts and other groups of people alike, hence putting Liverpool on the map in terms of cultural importance. ‘Classical architecture signified high culture in Liverpool’ (Black, et al., 2009, p. 92), as if the buildings are a celebration of knowledge, culture and society through the art museum, library and the concert hall. All these buildings represent classical perfection and are also proof that the people at that time have an envisioned future for their city; they constructed urban infrastructures located nearby each other and all built in the similar manner of Neoclassicism that airs the ambience of class and urbanism. As if signaling passersby of what they envisioned the city to be in the future.
Drawing 4: ‘Two badly weathered but still striking limestone statues, Michelangelo and Raphael by John Warrington Wood (1839 – 1886,) sit either side of the main entrance.’ (Anon., 2015) Almost like guardians watching over the gallery and its artistic content.
However, it is important to acknowledge that the grasp of Neoclassicism reaches beyond the design of buildings. One of them is in arts. While the buildings built in the influence of this style can be widely appreciated by every walk of life in the society, the same cannot be said for its influence in arts. ‘However, the art museum’s policies, like its architecture, created a solemn temple of the fine arts for the educated rather than bringing “enlightenment [to] all classes’ (Woodson-Boulton, 2012). As visitors are required to pay entry fees, the less fortunate were not able to enjoy the artistic movement that comes along with Neo-classicism. This creates a social notion that art especially paintings, sculpture, and decorative arts that inhibited the gallery; is an item of luxury, saved for the upper class society who has the power, money and time to invest in such costly activity. In fact, the gallery’s main benefactor Sir Andrew Barclay Walker, created quite a scandal by fully funding the construction of the gallery as well as future extensions. While it may seem financially innocent, he was accused of making a crude attempt at establishing his name as a society figure using his money. Seeing that the gallery is named after him, he might as well have done that. While this seems harmless and after all the gallery will still benefit the society, the idea behind it is somewhat tarnished the values of a society-driven public space. Hence it can be deduced that the effects of Neo-classicism on the city is not always a positive, celebrated one. Behind the beautiful buildings, there may be social
drama that affects civilians one way or another. This charade, if went out of control could turn civilians against the ruling society, creating a social turmoil.
Source: own photograph Photograph 4: Some of the paintings exhibited in present day Walker Art Gallery. The gallery carries an impressive collection of artworks from over 600 years, be it Modern to Victorian to Pre-Raphaelite.
Drawing 5: Bust of Alexander the Great. Apart from paintings and drawings, the gallery also exhibits sculpture works such as this one.
I suppose it is human nature to get bored with something, anything after a certain amount of time. As with all other architecture styles, eventually Neoclassicism slowly fades away, and other emerging styles becomes more popular. It ended sometime along with the Victorian style, when the docks took center stage of design development. Then came along the 20th century which brings about all sorts of changes in the design of buildings. ‘In reforming their city, the city elders adopted what was almost a universal architecture of power and advertised their aspirations for Liverpool to be a world city, comparable with the great cities of the modern and classical world.’ (Stead & Hall, 2015) In conclusion, the Neo-Classical era of Liverpool is a time of civic construction and the erection of many municipal buildings that continues to serve the society until today. While the style timeline of this era goes side by side with other architectural
styles such as Gothic and Victorian styles, it has been integrated well, composing a dynamic yet classical city of Liverpool. As population escalates and the city grows bigger, it should be interesting to see how Neo-classicism would impact the current and future architectural movements, if any.
(2139 words)
REFERENCES Black, A., Pepper, S. and Bagshaw, K. (2009). Books, buildings and social engineering: Early public libraries in Britain. Farnham, England: Ashgate Pub., p.92. Cragoe, C. (2008). How to read buildings. New York: Rizzoli, p.40. mashrabiyya. (2011). Art 101: What is Neoclassicism?. [online] Available at: https:// mashrabiyya.wordpress.com/2011/05/06/art-101-what-is-neoclassicism/ [Accessed 10 Apr. 2016]. Pollard, R., Pevsner, N. and Sharples, J. (2006). Lancashire: Liverpool and the southwest. New Haven, CT: Yale University Press, p.63. Risebero, B. (1983). Modern architecture and design : an alternative history. Cambridge: The MIT Press, p.25.
Stead, H. and Hall, E. (2015). Greek and Roman classics in the British struggle for social reform. London, UK: Bloomsbury Publishing Plc. Victorianweb.org. (2009). North Western Hotel, Lime Street Station, Liverpool, by Alfred Waterhouse (1871). [online] Available at: http://www.victorianweb.org/art/architecture/ waterhouse/8.html [Accessed 10 Apr. 2016]. Victorianweb.org. (2015). "The Walker Art Gallery, Liverpool". [online] Available at: http://www.victorianweb.org/art/architecture/liverpool/7.html [Accessed 10 Apr. 2016]. Woodson-Boulton, A. (2012). Transformative beauty: Art museums in industrial Britain. Stanford, Calif.: Stanford University Press, p.40.