Durham-South Bailey Character Assessment and Recommendations for intervention

South Bailey: Character Assessment and Recommendations for Intervention 1

South Bailey: Character Assessment and Recommendations for Intervention 2

Acknowledgements: The authors of this report would like to acknowledge the role played by the following people in the preparation of this document: Seif El Rashidi, for accommodating us in Durham and Dr. Adrian Green, for giving us a personalised tour of the South Bailey. In addition, we would like to acknowledge the University of Durham, including all its colleges, for providing a warm and inviting atmosphere for study.

List of Figures

South Bailey: Character Assessment and Recommendations for Intervention 3

Figure 1. South Bailey Sign

South Bailey: Character Assessment and Recommendations for Intervention 4

List of Figures:

Unless otherwise specified, all drawings are by Waseem Albahri.

Figure 2. Louise Rayner, Durham Cathedral from Faramwellgate, 1924. http://www.artforgers.com/art.cfm?id=17990811 Figure 3. Thomas Moule. Durham Map. 1830. http://www.antiquemaps.com/uk/mzoom/29538.htm Figure 4. John Lines. The Fortifications of the Peninsula, 1990. http://www.durhamworldheritagesite.com/architecture/castle/intro/peninsula Figure 5. John Speed, Durham Map, 1610. (http://www.oldtowns.co.uk/Mapshop_Durham/durham_speed.htm, accessed date) Figure 6. Location Map showing both the original 1986 World Heritage Site boundary and the revised 2008 one.

Figure 7. Edward Hastings, Durham Cathedral, oil on canvas, 1804-1827, West Park Museum, Macclesfield. : http://www.bbc.co.uk/arts/yourpaintings/paintings/durham-cathedral-103360 Figure 8. William Turner, Nave of Durham Cathedral, oil on canvas, 1798, Kobe City Museum, Japan. https://www.tate.org.uk/art/artworks/turner-the-interior-of-durham-cathedral-looking-east-along-the-south-aisle-d01101 Figure 9. Edward Hastings, Durham Castle, oil on canvas, 1840, West Park Museum, Macclesfield.. http://www.bbc.co.uk/arts/yourpaintings/paintings/durham-castle-and-framwellgate-bridge-looking-east-47667 Figure10. View of the Cathedral and City of Durham in the Country of Durham, 1778, The Modern Universal British Traveler. The Bailey area is highlighted in purple. http://www.google.co.uk/imgres?sa=X&biw=1366&bih=623&tbm=isch&tbnid=tASddKINYe_rkM:&imgrefurl=http://www.searlecanada.org/sunderland/sunderland183.html&do cid=us8pkAyEgBgewM&imgurl=http://www.searlecanada.org/sunderland/images10/durhamcathedral7.jpg&w=900&h=543&ei=f_DWUqTLDYWThgfvpYHoDQ&zoom=1 Figure 11. George Cole and John Roper, Durham Map, 1810, British Atlas. The Bailey is highlighted in purple. http://www.antiquemaps.com/uk/mzoom/30003.htm Figure 12. Durham City Map, 1900, Royal Atlas of England & Wales. The Bailey is highlighted in purple http://www.oldtowns.co.uk/Mapshop_Durham/durham1900.htm Figure 68. His Majesty’s Theatre. Image. www.aberdeengardening.co.uk. Available from: http://www.aberdeengardening.co.uk/diary/wp-content/uploads/2010/11/His-MajestysTheatre-Aberdeen1.jpg (accessed November 29, 2013).

Figure 69. His Majesty’s Theatre. Image. www.aberdeengardening.co.uk. Available from: http://www.aberdeengardening.co.uk/diary/wp-content/uploads/2010/11/His-MajestysTheatre-Aberdeen1.jpg (accessed November 29, 2013).

Figure 70. Edinburgh Castle Reception Centre. Image. Gareth Hoskins Architects. Available from: http://www.garethhoskinsarchitects.co.uk/assets/255/project-large (accessed November 28, 2013).

Figure 72. Shettleston Housing Association Offices. Image. StaticFlickr. Available from: http://farm4.staticflickr.com/3188/5739497315_19318d790e_z.jpg (accessed November 29, 2013).

Figure 73. Shettleston Housing Association Offices. Image. StaticFlickr. Available from: http://farm4.staticflickr.com/3188/5739497315_19318d790e_z.jpg (accessed November 29, 2013).

Figure 74. Harriet Monsell House. Image. Sadler Brown. Available from: http://www.sadlerbrown.co.uk/media/projects/37-l2.jpg (accessed November 29, 2013)..

Figure 79. Image. Available from: http://gettingworse.files.wordpress.com/2007/11/blue5.jpg (accessed November, 28, 2013).

Figure 81. The Tolbooth. Image. Robbieblair.com. Available from: http://robbieblair.com/images/2012/10/stirling-tolbooth.jpg (accessed November 29, 2013).

Figure 83. Hatfield-Bar. Image. Durham World Heritage Site. Available from: http://www.durhamworldheritagesite.com/architecture/bailey/north-bailey/hatfield-bar/image (accessed November 29, 2013). 36 Figure 88. Housing space is at a premium in the historic city, 2011. http://www.newstudent.co.uk/tag/durham/ Figure 89. Shettleston Building . 2014. BBC Foundation. http://www.bbc.co.uk/news/uk-scotland-glasgow-west-11798215

Contents

South Bailey: Character Assessment and Recommendations for Intervention 5

Figure 2. Louise Rayner, Durham Cathedral from Faramwellgate, 1924

South Bailey: Character Assessment and Recommendations for Intervention 6

Contents: page 02 ............ Acknowledgements page 03 ............ List of Figures page 07 ............ Introduction page 09 ............ Contextual Analysis page 11 ............ Historical Development of The South Bailey page 13 ............ Streetscape Analysis page 21 ............ South Bailey Character Assessment page 22 ............ Scale and Height page 23 ............ Materials and Colours page 23 ............ Gables page 24 ............ Greenery and Laneways page 25 ............ Rhythm

page 27 ............ Approaches in contemporary interventions page 28 ............ Historic Settings page 28 ............ Contemporary Interventions page 29 ............ Examples of Intervention page 35 ............ Recommendations for Intervention page 38 ............ Bibliography

Introduction

South Bailey: Character Assessment and Recommendations for Intervention 7

Figure 3. Thomas Moule. Durham Map. 1830.

South Bailey: Character Assessment and Recommendations for Intervention 8

Introduction: This report will analyse the architectural and historic significance of the South Bailey whilst defining the key characteristics of the site. Examples of modern buildings and inter¬ventions in similarly historic settings will be discussed to inform and inspire future projects on the site. The study of these examples will be considered alongside the key characteris¬tics of this site to make recommendations for any new building at 17 South Bailey. It is the aim of this document to provide the contextual information necessary to inform a devel¬opment which enhances and preserves the integrity of the site.

The name South Bailey formerly indicated the area between the South Gate (the Watergate) and the gate which was demolished in the late 17th century adjoining the Church of St. Mary le Bow. However, today the term ‘South Bailey’ refers to the smaller area between the Cathedral College Gate and the South Gate (the Watergate). This report refers to the old definition of South Bailey simply as “the Bailey” Fig 4.

The plot of land currently occupied by the 1930’s house at 17 South Bailey provides an interesting site for development. This house is of a differing style to the rest of the street and occupies an unusually large plot within the context of the street. The historic South Bailey is a densely built-up traditionally residential street at the edge of the Durham Cathedral and Castle World Heritage Site.

South Bailey is now largely occupied by the Univer¬sity of Durham; as an ever expanding institution any land found in this area with potential for development is highly sought after.

Figure 4. John Lines. The Fortifications of the Peninsula, 1990. Study Area is Highlighted

South Bailey: Character Assessment and Recommendations for Intervention 9

Contextual Analysis:

The city of Durham is located in the North East of England on a peninsula defined by the River Wear. It has been a site of significance since the middle ages owing to the Ccathedral’s role as a place of pilgrimage as the shrine of St. Cuthbert.

At this time the current bishop of Durham purchased an Earldom and thus became the first Prince-Bishop of Durham. The Prince-Bishop resided in the castle palace which had become a symbol of William’s position and power in the North.

Although there was originally a monastery on the site, the Norman cathedral we see today was begun in 1093 to house the shrine of St. Cuthbert.2

Figure 7. Edward Hastings, Durham Cathedral, oil on canvas, 1804-1827, West Park

Figure 5. John Speed, Durham Map, 1610

(The shrine) “was estimated to be one of the most sump tuous in all England, So great were the offerings and jewels bestowed upon it, and endless the miracles that were wrought at it, even in these last days” - Rites of Durham1

In the later Middle Ages the bones of the Venerable Bede were entombed at Durham Cathedral increasing its status as a destination for pilgrimage. By the time the constructions of the cathedral was completed in 1133 Durham had truly become a place of great religious and secular power.

Six years after the Norman Conquest William the Conqueror began to move further through England towards the North. A castle was commissioned in Durham and plans were made to build a new Cathedral.

Figure 6. Location Map showing both the original 1986 World Heritage Site boundary and the revised 2008 one.

1. C.J. Stranks, Durham Cathedral (Pitkin Guides: 1990, 45).

2. David Pepin, Discovering Cathedrals (Shire Publications LTD: 1994. 134).

South Bailey: Character Assessment and Recommendations for Intervention 10

The architectural significance of Durham Cathedral is due to the stone vaulting which is the oldest surviving example of this technique on such a large scale.3 It is also rare for a cathedral to survive with such a large proportion of its Norman form intact. The Cathedral has continued to act as an important religious centre since its construction in the middle ages.

The traditional motte and bailey castle is located on a hill close to the Cathedral. The Castle and its surrounding fortifications have determined Durham’s urban form Fig. 9.

`

Figure 9. Edward Hastings, Durham Castle, oil on canvas, 1840, West Park Museum, Macclesfield.

Along the Bailey were residences for knights enlisted to enact feudal duties in Durham; this residential role conÂŹtinued into the 16th and 17th centuries when these older and smaller medieval plots were amalgamated to create large townhouses for the wealthy middle classes.

Figure 8. William Turner, Nave of Durham Cathedral, oil on canvas, 1798, Kobe City Museum, Japan

3. Durham World Heritage Site, Durham Cathedral. accessed November 28th, 2013, http://www. durhamworldheritagesite.com/architecture/cathedral/building-durham

In the 19th century, Durham University was founded and the Castle became its first college. Over time the University came to own the majority of buildings in South Bailey joining and subdividing the former residential buildings to form university departments and colleges.

South Bailey: Character Assessment and Recommendations for Intervention 11

Historical development of the Bailey:

Most properties on the Bailey date from 17th, 18th and 19th century. Many are combinations of different phases and some have integral medieval elements.

In the Middle Ages this area was associated with ecclesiastic residences. It was here where many higher ranking knights serving feudal duties to the bishop would have lived.

During the 18th/19th century street clearances (as was the trend throughout the country) the street was opened up at the gate area/behind the Cathedral’s east elevation. Although during this period the gates were removed to open the streets, the street lines still remained in their originally medieval form with kinks that show the boundaries of smaller medieval tenements that have since been combined into single properties.

Figure 10. View of the Cathedral and City of Durham in the Country of Durham, 1778, The Modern Universal British Traveller. The Bailey area is highlighted in purple.

Historically, there were a few shops at the South end of North Bailey – a wine merchant and coffee shop with were frequented by the residents of the Bailey.

Figure 12. Durham City Map, 1900, Royal Atlas of England & Wales. The Bailey is highlighted in purple

The bridge and parkland area by the river was an area used by the local gentry. It was not specificaly private for the use of the residents, it seems to have been subjected to a natural social order and so only used by this class of people.

Historically in Durham, the merchants lived along South Street across the river whereas the upper middle classes including doctors, lawyers and clergymen lived along the Bailey. Many of the people living on South Bailey made money from investments in the coal mining industry that was prevalent in the area. The Brocketts who lived on South Bailey appear to be the only people who made their money in trade living here. They were a family of plumbers.

Figure 11. George Cole and John Roper, Durham Map, 1810, British Atlas. The Bailey is highlighted in purple.

South Bailey: Character Assessment and Recommendations for Intervention 12

The Bailey Gate (also known as Watergate) defining the end of South Bailey, would originally have been locked at night Fig. 13.

The gate which once stood on this site (immediately south of the church) was demolished in the late 17th century and the church of St. Mary Le Bow – part of the gate - was altered as a result.

Figure 14. Church of St Mary Le Bow

When the church was altered and extended the parish also extended which may be the reason why the start of South Bailey moved further down the street (late 17th century) making it a much smaller length than it was originally.

Figure 13. The Bailey Gate

Streetscape Analysis

South Bailey: Character Assessment and Recommendations for Intervention 13

Figure 87. View in the South Bailey.

South Bailey: Character Assessment and Recommendations for Intervention 14

For all of its history, the Bailey has been a residential neighbourhood. It has seen a change in users; while it originally served the Cathedral and Castle, it was an influx of gentry families who built the street as it stands; including the Bowes Family of Bowes House, 7 South Bailey, Madame Poison, a refugee from the French Revolution and Henry Vane, who married Frances Tempest in 1768.4

Today most of the houses in the street are owned by St. John’s College, St Chad’s College and St Cuthbert’s Society (part of Durham University) and serve a residential use.

Figure 17. Property Owners

Figure 15. Bailey west elevation

Figure 16. Bailey east elevation

4. The Parish of St. Mary the Less, Home Page. accessed on February 1st, 2014 http://community.dur.ac.uk/parish.stmary/

South Bailey: Character Assessment and Recommendations for Intervention 15 Building No: 12 South Bailey Owners: St. Cuthbert Society (Durham University) Type: Residential

Building No: 13 South Bailey Owners: St. Cuthbert’s Society (Durham University) Type: Residential

Description: the height of the buildings ranges from one to three storeys. It i’s notable as an unusual feature of the Bailey is relatively modern rounded staircases tower in the middle building. Facades are finished with white gypsum and roofs are pitched in parallel with the street lines and finished in dark blue slate. In addition, St. Cuthbert’s main door is very sophisticated and it is a twentieth century addition mimicking the in seventieth century style. (Fig 20).

Description: the height of the buildings ranges from two to three storey. Flat roof dormers are used and the slate pitched roofs are aligned with the street line. The windows follow a horizontal and vertical alignment, even the false windows located in the left building follow the same rhythm. Facades are finished with red brick.

Figure 18. Location Map

Figure 19. Elevation Map 12 South Bailey

Figure 21. Location Map 13 South Bailey

Figure 20. St. Cuthbert’s Society main door

Figure 22. Elevation 13 South Bailey

South Bailey: Character Assessment and Recommendations for Intervention 16 Building Nos: 10, 11, 12 South Bailey Owners: Durham Cathedral (10 and 11), St. Cuthbert’s Society (Durham University) (12) Type: Residential

Building Nos: 15, 16, 17 South Bailey Owners: St. John’s College (and Durham Cathedral) Type: Residential (15 and 17) and administrative (16)

Description: the height of the buildings ranges from two to three storeys. Slate pitched roofs are aligned with the street line. The windows follow a horizontal and vertical alignment, but windows vary in width in property No (10). Facades are finished with red brick ( property No 11) and gypsum (properties Nos 10 and 12).

Description: the height of the buildings ranges from two to three storeys. Slate pitched roofs are aligned with the street line, however there are some parts of the buildings where the pitched roof is perpendicular to the street. The windows follow horizontal and vertical alignment in property no 16. Facades are finished with red brick ( property no 15), more pinkish brick (property no 17) and white gypsum (property no 16). It must be noted that main doors and facades in all of the properties have a recessed relation with the street with an indirect accessibility.

Building Nos: 7, 8, 9 South Bailey Owners: St. John’s College Type: Residential Description: The height of the buildings ranges from two to four storeys. Dark blue slate pitched roofs are aligned with the street line. The windows follow horizontal and vertical alignment in all buildings. Facades are finished with red brick ( properties no 9 and 7) and brown gypsum (property no 8). Flat roof dormers are found in property on 7.

` Figure 23. Location Map 10, 11, 12 South Bailey

Figure 25. Location Map 15, 16, 17 South Bailey

Figure 27. Location Map 7, 8, 9 South Bailey

Figure 24. Elevation 10, 11, 12 South Bailey

Figure 26. Elevation 15, 16, 17 South Bailey

Figure 28. Elevation 7, 8, 9 South Bailey

South Bailey: Character Assessment and Recommendations for Intervention 17 Building No: 18 South Bailey Owners: St. John’s College Type: Religious

Building Nos: 3, 4, 5 South Bailey Owners: St. John’s College Type: Residential

Building Nos: South Bailey 1, 2, 3 Owners: St. John’s College Type: Residential (1, 2) and administrative (3)

Description: The church of St. Mary the Less, also known as Chapel of St. John’s College today stands as an outstanding landmark in the middle of the South Bailey. It was called St. Mary the Less because it was on the grounds of the Durham Cathedral, which was also dedicated to St. Mary and was much larger.5 The church is built of sand stone and the pitched roof is finished with dark blue slate. In general, the church has a different setting from the other buildings on the Bailey. The church includes a memorial to a Polish dwarf, Count Joseph Borowlaski, who lived in a nearby house on South Bailey.6

Description: The height of the buildings ranges from two to four storeys. Dark blue slate pitched roofs are aligned with the street line. The window proportions vary in all buildings. Facades are finished with red brick ( Property No 5 ), gypsum (Property No 4) and stone (Property No 3). Flat roof dormers are found in property on 5. Bowes House (Property No 4) – which is now rendered and has blue shuttering/doors and window frames and- was owned by the Bowes family who were one of the wealthiest families in Britain. The Queen Mother Elizabeth Bowes-Lyons was a part of this family. They made their money from coal mining and were acting MP’s. They also owned what is now the Royal County Hotel in Durham . And they owned Gibside – a Palladian style property in England. Bowes House was gradually refurbished and not to a very high standard. It is formed of the central block (white rendered) where the main entrance is and the grander wing to the north (stone masonry) and the services wing to the south (brick). Within the central block is a significant 1680’s staircase. As with most of the properties of South Bailey, the kitchens would be on the street side and the family reception rooms would be at the rear of the property overlooking the river.

Description: Facades are finished with stone ( Properties No 3 and 1, the right block), gypsum (Property no 2) and red brick (Property no 1, the left block). The stone building which is now St. Johns College, 3 South Bailey was originally built for the wealthy Eden family. It is another example of a property built on a cleared site. It was intentionally set back from the street to assert its importance and status. The style and dressed stone facade is unusual for the street as most other buildings built are finished with brick and render. Some finishing materials of old buildings have been left intact after adding new finishing materials to the facades. Such is the case with building No 2, where the two stone pieces that feature in the centre of a façade which has otherwise been rendered s a white building in the middle.

Figure 29. Location Map (St. Mary the Less Church)

Figure 31. Location Map South Bailey 3, 4, 5

Figure 33. Location Map 1, 2, 3 South Bailey

Figure 30. Elevation (St. Mary the Less Church)

Figure 32. Elevation South Bailey 3, 4, 5

Figure 34. Elevation 1, 2, 3 South Bailey

5. Durham Records Online, Durham St. Mary the Less, accessed January 31st, 2014 http://durhamrecordsonline.com/updates/2010/04/durham-st-mary-the-less-south-baileybaptisms-1787-1993/

6. Durham World Heritage Site, St. Mary the Less. accessed January 31st, 2014 http://www.durhamworldheritagesite.com/architecture/bailey/south-bailey/johns-college

South Bailey: Character Assessment and Recommendations for Intervention 18 Owners: Durham Cathedral Type: Residential

Owners: Durham Cathedral Type: Residential

Description: Facades are finished with stone in all buildings. The wall at the north of the 1930’s house bordering St. Mary the Less is probably of historical significance and may have once been the wall of a building in this area rather than just a boundary wall. Roofs are finished with red tile which is an exceptional feature in the Bailey.

Description: Facades are finished with stone in all buildings. Apparently, concrete was used in restoration, just in the building to the right of the arched gate. Roofs are finished with dark blue slate and red tiles. The ancient medieval arched entrance lead to The College, an area on the south side of the Cathedral which is the home of the Cathedral clergy and the Chorister School.7 The medieval gate marks the boundaries between South and North Bailey today.

Figure 35. Map Location, properties of St. John’s College

Figure 36. Map Location, Cathedral properties

Figure 38. Map Location, 24, 25, 26, 27, 28 North Bailey

Figure 36. Elevation, properties of The Cathedral

Figure 37. Elevation, Durham Cathedral properties

Figure 39. Elevation, 24, 25, 26, 27, 28 North Bailey

7. Stuart fisher, College Gate Durham City. accessed on January 31st, 2014 http://www.stuartfisher-art.co.uk/watercolours-for-sale.html

Building Nos: North Bailey 24, 25, 26, 27, 28 Owners: St. John’s College (27, 28), St. Cuthbert’s Society (26), St Chad’s College (25) and Durham Union Society (24) Type: Residential (25, 26, 27, 28) and Social (24) Description: The white house (Property no 25) is an excellent surviving example of a late 17th century facade. It is also an unusual example of a family home been built on a cleared plot with a basement with a narrow stairs. It is not orientated around a central axis with the door to the left side of the facade and it also has sliding sash windows. That is was built on a cleared site is the reason why it was built back from the street to most likely elevate the status of the building amongst the surrounding properties. The blue building shows traces which indicate that it would have been at least 3 medieval tenements.

South Bailey: Character Assessment and Recommendations for Intervention 19 Building Nos: North Bailey 27A, 28A Owners: Durham Cathedral Type: Residential

Building Nos: North Bailey 19, 20, 21, 22, 23 Owners: St. Chad’s College Type: Residential

Description: Roofs are finished with red tile and dark blue slate. Facades are finished with gypsum (property no 28A), brick (property no 17A left block) and Stone (property no 27A right blocks). Roofs are pitched and parallel to the street line. Moreover, a number of green large doors are found in the facades.

Description: The heights of the buildings vary from two to four storey. Roofs are finished with dark blue slate and parallel to the street line. Link dormers are found in properties No 19, 20 and 23.

Facades are finished with red brick (Property No 21) and gypsum (Properties No 19, 20, 22, 23). Window and doors follow the same vertical and horizontal alignment.

Figure 40. Map Location, 27A, 28A North Bailey

Figure 42. Map Location, 19, 20, 21, 22, 23 North Bailey

Figure 41. Elevation, 27A, 28A North Bailey

Figure 43. Elevation, 19, 20, 21, 22, 23 North Bailey

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Building No: North Bailey 18 Owners: St. Chad’s College Type: Residential

Description: Francis Johnston designed the left building in the 1960’s. He used references in its design from Georgian Architecture – making it fit in with the rest of the architecture on the street. This building has curved gable ends, which was a characteristic of Durham architecture.

In this same building there is a surviving medieval door which most likely dates back to a time when a knight would have been in residence in this property (Fig 45).

Figure 44. Map Location, 18 North Bailey

Figure 46. Elevation, 18 North Bailey

Figure 45. St. Chad’s College Door

South Bailey Character Assessment

South Bailey: Character Assessment and Recommendations for Intervention 21

Figure 88. Housing Space is at a Premium in the Historic City, 2011.

South Bailey: Character Assessment and Recommendations for Intervention 22

South Bailey Character Assessment: The historic South Bailey is a densely built up traditionally residential street at the edge of Durham Cathedral and Castle World Heritage Site. However, some buildings along South Bailey lie inside the World Heritage Site boundary. Therefore, it is important to highlight and discuss the key characteristics of South Bailey that should be considered for any possible regeneration and development scheme to preserve the continuity of South Bailey’s significance.

Scale and Height: Buildings along the Bailey range in height from one to four storeys, with most of them three stories high. However, even those which are two or four storeys high tend to be the same height as the three storey buildings. Moreover, one storey buildings are located in the middle of South Bailey.

The tower of St Mary the Less Church is clearly noted in the skyline of western part of South Bailey and emphasizes the medieval character still present in the area. Moreover, St. Mary the Less Church serves as a landmark located in the middle of the street.

In terms of building scale, the buildings are generally small in scale reflecting the narrow profile of the street. Over time, some were joined together to form larger buildings. It must also be noted that, generally, the buildings to the northern and southern end of the South Bailey are larger than those situated in the central part

Figure 47. Building Height map.

Figure 48. Bailey east side elevation

Figure 49. Bailey west side elevation

South Bailey: Character Assessment and Recommendations for Intervention 23

Materials and Colours: Brick and stone masonry is found in most of the façades along the South Bailey. However, there are a considerable number of façades at the southern and northern ends of the South Bailey finished in white plaster. Chimneys are predominantly built of red brick.

Furthermore, the roofs are mostly pitched, in line with the street, and covered with dark blue slate.

Generally in Durham many houses use a brick which is of a great local significance. The bricks were made using the darker earth of the coal mining sites which produced a darker, muddy brown brick. The windows of the properties were also manufactured in Newcastle with the glass being fired using Newcastle coal.

Gables: An individual building at No 26 (Fig. 51) is brightly painted in blue, but this has led to a slightly unbalanced visual effect in relation to its neighbouring buildings.

As a result of varying building heights, the gables have variable heights along the South Bailey. Generally, gables are parallel to the street (Figures 52, 53) . However, there are some exceptions, such as Property Nos (15, 19 South Bailey and 18 North Bailey) (Fig 54).

Different shapes of dormers are found on the roofs of buildings in the South Bailey.

Figure 54. Buildings with different orientation of gables

Figure 51. Pale Blue colour finish on building No (26).

In terms of colours, the building façades are a mixture of painted (gypsum) and unpainted (brick and stone) and as such there is an overall ‘greyness’ on the western side of the South Bailey. On the other side, the eastern side of the street has a mixture of muted colours such as dark red, gray, yellow and brown.

Figure 55. Forms of dormers.

For instance, a link dormer is found in Property numbers19 and 24, while gable fronted dormers are found in Property No 23, and finally there are some flat roof dormers by St. Mary the Less Chapel in Property Nos (5 and10).

Figure 50. Bailey materials finishing.

Figure 52. Bailey Roof Line (east side).

Figure 53. Bailey Roof Line (west side).

South Bailey: Character Assessment and Recommendations for Intervention 24

Greenery and Laneways: Three main green spaces exist on the western side of the South Bailey, behind the stone wall that borders most of the street.

Many of these pieces are missing and filled with asphalt

The laneways leading from the South Gate (Watergate) to the Cathedral follow the medieval street lines. Pedestrians walkways are located on the eastern side of the South Bbailey in which the pavements are made by large flagstones. Many of these pieces are missing and filled with asphalt

On the eastern side of the South Bailey, the majority of building frontages seem to be following the laneway’s shape and provide direct access to properties. However, Properties Nos 3 South Bailey and 25 North Bailey (Fig 60) have a recessed frontages.

Figure 60. Recessed frontage of the east elevation

Figure 62. Recessed frontage of west elevation

Figure 56. Greenery Map.

The laneways leading from the South Gate (Watergate) to the Cathedral follow the medieval street lines. Pedestrians walkways are located on the eastern side of the South Bbailey in which the pavements are made by large flagstones.

Frontages of the western side of the South Bailey have also a direct relationship with the streets on the southern and northern limits.

In contrast, St. Mary the Less Church and Properties Nos (16 and 15 South Bailey) (Fig 62) in the middle of the Bailey have a different setting within the street, but these are exceptions.

Figure 57. Different materials and patterns used in street pavements.

Figure 58. Main green spaces along the Bailey.

Figure 59. Green spaces on the west elevation.

South Bailey: Character Assessment and Recommendations for Intervention 25

Rhythm: The architectural rhythm of the South Bailey is largely determined by the form and scale of the buildings on the street, but also by windows and doors within the buildings.

Along the South Bailey, windows are predominantly vertical of a Georgian sash-and-case type. Also, most of the windows follow a balanced horizontal and a vertical alignment, taking into consideration the deviation caused by the changes in topographic levels. The repetition of vertical windows in most of the South Bailey contributes greatly to give a particular rhythm and a distinctive identity to the street.

Doors also follow a similar vertical style on most of the street and are predominantly coloured blue and green.

South Bailey: Character Assessment and Recommendations for Intervention 26

Figure 63. Windows, doors and roofs types.

Figure 64. Horizontal and Vertical alignment of windows and doors on the western side of the Bailey.

Figure 65. . Horizontal and Vertical alignment of windows and doors on the eastern side of the Bailey.

Approaches in Contemporary Interventions

South Bailey: Character Assessment and Recommendations for Intervention 27

Figure 89. Shettleston Building . 2014. BBC Foundation

South Bailey: Character Assessment and Recommendations for Intervention 28

Approaches in Contemporary Interventions : Introducing modern interventions to a historic area may seem like an impossible task, but it doesn’t have to be. In many places, modern interventions have been introduced without overtly compromising the historic fabric of their surroundings. Many interventions utilise a number of techniques to comprise a design which is not at detriment of the structure’s functions and results in a building that not only adds to the visual character to its site, but reflects positively on the area as a whole.

The purpose of this section is to reference the different ways through which modern inter-ventions can be successfully accomplished. This will inform and prompt suggestions for recommendation at the proposed site within the South Bailey.

Historic Settings: Before we delve further into the subject of intervention, it is important to note what con¬stitutes a historic setting. According to English Heritage’s Planning Policy Statement 5: Planning for the Historic Environment (PPS 5), the setting of a heritage asset is defined as: Those areas which embrace all of the surroundings (land, sea, structures, features and skyline) from which the heritage asset can be experienced or that can be experienced from or with the as set...Its extent is not fixed and may change as the asset and its surroundings evolve. Elements of a setting may make a positive or negative contribution to the significance of an asset, may affect the ability to appreciate that significance or may be neutral.8 English Heritage also states that: “all aspects of the environment resulting from the interac¬tion between people and places through time, including all surviving physical remains of past human activity, whether visible or buried, and deliberately planted or managed flora,” should be taken into account when determining what constitutes a historic setting.9 The South Bailey region of Durham clearly fulfills all of the heritage criteria outlined above regarding a historic setting. Not only does the area retain a great amount of cultural signifi-cance, but its preservation of medieval streetscape and scale provides an educational link to now extinct building patterns and design. Furthermore, its consistent and continued use as a residential area over the last nine centuries has left much of the original communal fab¬ric intact. The presence of colleges in the area only serves to continue this link, as student residential populations take on the role of former domestic dwellers.

Contemporary Interventions: For the sake of consistency, this document will define ‘Modern Interventions’ as those newer or modern additions which might seek to add to or fill in the gaps between already existing buildings, particularly within a historic setting. These interventions can be both the result of aesthetic or general utilitarian purposes, and take on a wide variety of form and function.

8. ‘The Setting of Heritage Assets: English Heritage Assets,’ English Heritage, (2011), 4.

9. Ibid

While some designers have chosen a more direct route of matching new additions to his¬toric areas in a very pastiche manner, utilizing replication principles to make the structure blend into its surroundings, this is not the only way to go. In fact, through a simple aware¬ness of one’s general area, it becomes possible to produce an addition that is both strik¬ing as well as un-obtrusive.

Through the following examples, we will seek to show how architects of a modern per¬suasion were able to successfully accomplish a syncretic flow with their surroundings by expressing consideration for the following tenets: • Scale (the height and mass of surrounding buildings) • Density (the amount of supportive development on a particular site) • Urban Grain (the pattern of streets and spaces) • Materials and Detailing (the use of appropriate color, texture or materials, which support rather than hinder the surrounding area) • Views and Landmarks (which can embrace landscapes or monuments) • Historical Development (i.e. the historical evolution of the surrounding area, either built or natural) With respect to the particular plot in question, we feel that the tenets that should merit consideration include scale, in order to compliment the surrounding rooflines of the South Bailey; urban grain, in order to blend in with the frontages of nearby structures; views and landmarks, in order to respect the current views of its neighboring structure; and material and detailing so that the structure compliments rather than detracts from the surrounding streetscape.

By following these tenets, it becomes possible to add a lasting addition to the site that not only enhances the existing structures surrounding it, but makes a powerful statement all its own. After all, historic areas, like other built fabrics, are not stagnant to change, and as such, should reflect, in measured ways, the gradual evolution of their surroundings.

South Bailey: Character Assessment and Recommendations for Intervention 29

Examples of Interventions in Historic Settings: There are countless examples of architects who have managed to incorporate modern designs within a historic context. Many of these can be found in some of the most promi¬nent streetscapes and historic structures within the UK and help demonstrate the last¬ing value that can be added to an area when proper consideration to one or more of the above tenets is practiced.

Perhaps the most striking feature of this intervention, however, is the reuse of classical doorframes. This replication clearly blends the structure in neatly within its surrounding streetscape, which feature similar projections from their facades Fig 67.

The similar scale and proportions of the building ensure that it sits more seamlessly amongst the existing urban fabric.

Bailey House, Durham

Figure 66. Bailey House with its surroundings

Perhaps appropriately, the first intervention we should examine lies right in the heart of Durham’s North Bailey. Built in 1970, Bailey House now serves as university accom-modation for Hatfield College.10 The facade is clearly modern but its windows mirror the rhythm and proportions of buildings from the eighteenth and nineteenth centuries. This is done with a full appreciation to more classical styles, while incorporating modern nuances such as modern paned glass.

Materials-wise, the structure incorporates subtle differences in brick colour, totally in keeping with the appearance of the surrounding older buildings. The colour and texture of the brick is just new enough, however, so as to stand apart from its neighbours.

10. ‘Bailey House,’ Durham World Heritage Site, 2013, accessed November 28, 2013, http://www. durhamworldheritagesite.com/architecture/bailey/north-bailey/bailey-house/.

Figure 67. The old classical door frames used in Bailey House.

His Majesty’s Theatre, Aberdeen In Aberdeen is another example of interventionist design in His Majesty’s Theatre. This glass-fronted addition was completed by architect Trevor Smith, who also designed the award-winning Aberdeen Maritime Museum, and was chosen following a National Lottery in 1999.11 Now serving as a café, office and restaurant, its design incorporates several of the key tenets outlined, including scale, materials as well as details and urban grain.

The similar scale and proportions of the building ensure that it sits more seamlessly amongst the existing urban fabric.

11. E. Swan, ‘His Majesty’s Theatre – One Hundred Years of Glorious Damnation’, Black & White Publishing, (2006).

Fig 68. His Majesty’s Theatre

The facade of the building is also noteworthy as it compliments, rather than detracts from, the urban grain. It is clear that the architect took form into consideration by not projecting the structure too far forward, instead, choosing to confine it in uniformity to the other facades so it more accurately reflects the historic streetscape.

South Bailey: Character Assessment and Recommendations for Intervention 30

While Smith’s focus on scale and urban grain should be commended, his most impressive achievement by far relates to the incorporation of material and detailing. As you can see from Figure 69, such detailing did not result from the use of ashlar stonework—outside a small extension which connects the addition with the theatre—but rather

Fig 69. His Majesty’s Theatre

from the inclusion of a similar green-toned copper roof. Such an incorporated feature allows the overtly modern façade to grow organically from the theatre.

Edinburgh Castle Reception Centre, Edinburgh: The Reception Centre at Edinburgh Castle presented a particularly daunting challenge for modern intervention considering the castle’s prominent location within a World Heritage site.

In addition, the architects were able to incorporate a similar scale with the outer castle walls, using similar flat-pitched proportions.

Fig 70. Edinburgh Castle Visitor Centre

Fig 71. Edinburgh Castle Visitor Centre Museum, Macclesfield.

Architects Gareth Hoskins designed a structure which is of a unique modern design whilst responding to the nature of the site. This was done with consideration of materials and detailing, as well as using a scale appropriate to the site.

It was also clear that proper attention to historical development was made, as the terraced nature of the structure mimics the historical development of Edinburgh Castle.

With respect to materials and detailing, Gareth Hoskins took into account the surrounding structure, choosing a dark grey cladding material to reflect continuity with the worn grey limestone of the castle. The material is distinct enough to create a modern look but subtle enough to not overpower or detract from the main structure.

South Bailey: Character Assessment and Recommendations for Intervention 31

Shettleston Housing Association Offices, Glasgow:

As you can see in the figure above, the six projected mullions of the structure blend seamlessly with the window formatting of its older, red sandstone counterpart, respecting the street frontage already in existence. Furthermore, its roofline is pitched at the exact same level of its more historic neighbor, and incorporates a slightly recessed balustrade that aligns with Cooperative Hall in a near perfect manner.

Figure 72. Shettleston Housing Association offices

Figure 73 Shettleston Housing Association offices

Perhaps one of the most striking examples of modern intervention in the UK can be found in Glasgow’s Shettleston Housing Association Offices. This 2010 intervention manages to balance the fine line between standing out in a crowd, while fitting in with its surroundings.

All of this is accomplished while incorporating non-traditional cladding and glass.

Unlike the previous examples provided, this unique intervention foregoes the materials and detailing of the more historic Cooperative Hall to add an extension that both stands apart, while still reflecting the urban grain and scale of the street. The new building is purposely distinct from the existing building to celebrate the reinvigoration of the offices and to pro¬vide a formal response from the neoclassical façade.

Harriet Monsell House, Ripon College, Cuddesdon:

Figure 74. Harriet Monsell house

Many examples of modern interventions can be found on the campuses of historic colleges. One such example is the Harriet Monsell House in Cuddesdon. This structure was completed in September 2012 and has generated much positive press based upon its abil¬ity to mimic the forms of already-existing buildings on campus.

The building provides new convent accommodation for the Sisters of Begbroke, as well as teaching facilities, a lecture theatre and additional accommodation for its growing number of students.

South Bailey: Character Assessment and Recommendations for Intervention 32

Set over four floors, it is a stunning contemporary take on the original buildings, character¬ised by large steeply pitched roofs, punctuated by vertical chimney and gable elements.

Pier Arts Centre in Stromness, Orkney: Another good example of modern interventions in a historic context is the The Pier Arts Centre in Stromness, Orkney, Scotland designed by Reiach and Hall Architects.

Three simple components now make up the centre: the meeting house (an original residence), the strong house (an original warehouse) and the black house (the new extension).

Figure 75. Harriet Monsell house

Fig 76. Pier Arts Centr

Figure 77. Pier Arts Centre components

Construction is entirely modern in concrete and glass, with stone cladding to match the existing stone of the more historic 1853 designs. It contains a striking rain screen cladding running seamlessly up over the walls, eaves and roofs in sustainable frake timber, which will weather to the honey grey tone of the existing stone.12

The project respects the sensitivity of this magical place in the north of Scotland. The architects made it echo the roofs shapes of the fishing buildings on either side.

A light-filled corridor gallery within the new extension links all three houses and provides open views out across the harbour. In the original stone warehouses, the skin and the structure are combined as heavy stone walls.

The magnificent detailing as outlined above shows how the architects carefully considered scale, materials and detailing, as well as views and landscape when putting forth their de¬signs. The latter was especially pertinent given the fact that the building sits on a high ridge and is visible from a considerable distance.

11. ‘Ripon College,’ Sadler Brown Architecture, accessed November 28, 2013, http://www.sadlerbrown.co.uk/projects.aspx?category=14&project=37.

Stromness has a unique foreshore of stone piers that span the high and low watermarks along the northern shore of the Hamnavoe. The Arts Centre occupies a strategic position within this stone , adjacent to the point of arrival for Stromness and at the entry to the city.

South Bailey: Character Assessment and Recommendations for Intervention 33

The new building adopts a simple pitched roof recalling a traditional waterfront warehouse. The building is clad in black. This signifies its cultural significance yet it also has a quality that is ambivalent and melancholic. Its familiarity however is transformed and undermined through a façade that shifts from solid to void; dark, zinc-clad ribs alternate with translucent glass infills.

CITRAC Building, Glasgow:

Fig 78. Pier Arts Centre

Ragna Robertsdottir, an Icelandic artist who creates veils of volcanic particles, clarified the idea for a façade that shifts as the viewer moves. saying: “ The glazed façade describes the linear circulation that con nects all three buildings. The spacing of the ribs echoes the original gallery’s rafters. When seen gable-on the new building appears solid but dissolves as the viewer moves, al lowing the original pier building to gain prominence. The building is grounded in its location yet through a lightness of touch escapes the Medusa effect of the prevalent stone culture.”13

13. “The Pier Arts Centre / Reiach and Hall Architects” 10 Mar 2011. ArchDaily. accessed 01 Feb 2014. <http://www.archdaily.com/?p=118010>

Figure 79. CITRAC building

Some designers choose not to follow any of the outlined tenets, in an attempt to make a bold statement. While this works generally well in less historic areas, there is always the case of a serious clash within historic settings. Such is the case with the CITRAC building along Elmbank Street in downtown Glasgow.

Built some years ago for use as a traffic monitoring space, the bright blue structure neither reflects the unified urban grain of the streetscape, nor the historical development of the area as a Victorian thoroughfare. While this can be overlooked, however, due to its recessed position behind a boundary wall, its lack of integration with material and detailing makes it especially noticeable.

Fig 80. CITRAC building

As you can see from Figure 80, the boxy structure’s bright blue paneled façade with lime green accents and metallic roof differ drastically from the surrounding limestone buildings, setting it apart from, rather than adding to the character of the area. This not only affects the view of the building itself, but is seriously detrimental to the historic fabric of the area.

South Bailey: Character Assessment and Recommendations for Intervention 34

The Tolbooth, Stirling:

Richard Murphy Architects, the masterminds behind its renovation focused quite a bit on updating the interior of the structure, while adding new exterior additions to its rear.

Figure 81. The Tolbooth

Another site to undergo significant intervention was The Tolbooth in Stirling. Originally serving as the seat of local government, and later as a courthouse and jail, this early eighteenth century building underwent extensive renovation to become a community arts venue.14

14. ‘Stirling Tolbooth Arts Centre,’ Richard Murphy Architects, 2013, accessed November 29, 2013, http://www.richardmurphyarchitects.com/50401

Jevons Building, Durham: The Jevons Building, part of Durham University’s Hatfield College, is our last example of modern intervention.

Figure 82. Jevons Building

While much of their work cannot be seen from street level, suggesting the architects’ careful consideration for scale, one such addition, in the form of a metallic canopy, proves otherwise. This projections interrupts the uniformed grain of the streetscape, projecting well past the outer facade (Figure 81).

The use of metallic material also differentiates quite a bit from the more traditional limestone of the surrounding buildings, making it stand apart all the more.

Constructed by Bernard Taylor and Partners in 1967, it was meant to offer more student accommodation. Its replacement of a preexisting Georgian house was heralded as a great achievement during that time, and it received a Civic Trust Award in 1969.

Today, the building stands in sharp contrast with the other surrounding structures. While respecting scale and urban grain, its materials and detailing, particularly its incorporation of a much darker brick, firmly sets it apart from its neighbours. The lack of consideration towards window design also increases its apartness from the more historic buildings.

Recommendations for intervention

South Bailey: Character Assessment and Recommendations for Intervention 35

Figure 90. South Baily Street View

South Bailey: Character Assessment and Recommendations for Intervention 36

Recommendations for intervention: The position of South Bailey within Durham’s World Heritage Site is essential both culturally and economically, therefore any intervention or development within that area should be planned with the utmost care.

After an in-depth analysis of the South Bailey streetscape, it is firstly recommend that any new developments on the site must consider and utilize some or all of the following key characteristics so as to not deviate from the character of the site. These include consideration of: • Scale and Height – new development and renovations should be a maximum of three storeys. In addition, a mix of two and three story buildings should be maintained along the length of the street. This will preserve the distinctive profile of the street and ensure late evening sunshine.

• Materials – new development should respect the material quality of the adjacent buildings. Currently most buildings in Durham have brick exposed and rendered, and stone.

• Colours – should be muted to bring coherence to the street.

• Roof line – roofs should be pitched in line with the street. There should be no gable roofs to the street and no flat roofs • Relationship to street –the building frontage facing the street should be well composed with careful attention to the arrangement of components such as entrances and windows.

Figure 84. Roof line recommendation

South Bailey: Character Assessment and Recommendations for Intervention 37 It is also recommend that any development take into account the historical nature of the site, including surviving links to its past, such as the standing boundary wall abutting St. Mary the Less. By incorporating or preserving such features in the design, it becomes possible to successfully link the development with the past, and thus, the greater World Heritage Ssite as a whole.

In addition, a concerted effort should be made to not block the windows of the older eighteenth century structure it currently borders.

Following just a few of the above key characteristics will not only make for a successful development, but greatly add to the surrounding community.

As far as the site at 17 South Bailey is concerned, a concerted effort to respect the scale, streetscape, roof line, as well as the materials and detailing of the surrounding area, will go a long way in producing a quality structure.

Many structures, such as some of those mentioned above, managed to do just that by utilising these key characteristics and tenets, resulting in additions that genuinely added value to their properties.

In summary, it must be pointed out that it is indeed possible to have a very bold modern structure within a historic setting that will not only standout due to its architectural merits, but also for its careful attention to setting.

Figure 85. Windows rhythm in the properties adjacent to 17 South Bailey.

Figure 86. Windows rhythm in the property adjacent to 17 South Bailey.

South Bailey: Character Assessment and Recommendations for Intervention 38

Bibliography: C.J. Stranks. Durham Cathedral. Pitkin Guides, 1990 David Pepin. Discovering Cathedrals. Shire Publications LTD, 1994.

Durham Records Online, Durham St. Mary the Less. (accessed 31 January 2014) http://durhamrecordsonline.com/updates/2010/04/durham-st-mary-the-less-south-bailey-baptisms-1787-1993/ Durham World Heritage Site, St. Mary the Less. (accessed 31 January 2014) http://www.durhamworldheritagesite.com/architecture/bailey/south-bailey/johns-college Durham World Heritage Site. (accessed 28 November 2013). http://www.durhamworldheritagesite.com/architecture/cathedral/building-durham The Pier Arts Centre / Reiach and Hall Architects” 10 Mar 2011. ArchDaily. (accessed 01 Feb 2014) <http://www.archdaily.com/?p=118010> The Setting of Heritage Assets: English Heritage Assets. London: English Heritage, 2011 Richard Murphy Architects. Stirling Tolbooth Arts Centre. http://www.richardmurphyarchitects.com/50401 (accessed 29 November 2013) The Parish of St. Mary the Less, Home Page. (accessed 1 February, 2014) http://community.dur.ac.uk/parish.stmary/ Sadler Brown Architecture. Ripon College. http://www.sadlerbrown.co.uk/projects.aspx?category=14&project=37 (accessed 28 November 2013) Stuart fisher, College Gate Durham City. (accessed on 31 January 2014) http://www.stuartfisher-art.co.uk/watercolours-for-sale.html Swan, E. His Majesty’s Theatre – One Hundred Years of Glorious Damnation. Edinburgh: Black & White Publishing, 2006