Charles Holden
Charles Henry Holden | |
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Senate House Bristol Central Library London Underground stations Cemeteries for Imperial War Graves Commission |
Charles Henry Holden
After working and training in
Although not without its critics, his architecture is widely appreciated. He was awarded the
Early life
Charles Henry Holden was born on 12 May 1875 at Great Lever, Bolton, the fifth and youngest child of Joseph Holden (1842–1918), a draper and milliner, and Ellen (née Broughton, 1841–1890) Holden. Holden's childhood was marred by his father's bankruptcy in 1884 and his mother's death when he was fifteen years old.[1][2] Following the loss of his father's business, the family moved 15 miles (24 km) to St Helens, where his father returned to his earlier trade and worked as an iron turner and fitter and where he attended a number of schools.[1]
He briefly had jobs as a laboratory assistant and a railway clerk in St Helens. During this period he attended
While working and studying in Manchester, Holden formed friendships with artist Muirhead Bone and his future brother-in-law Francis Dodd.[6] About this time Holden was introduced to the writings of Walt Whitman and became friends with James William Wallace and a number of the members of Bolton's Whitman society known as the "Eagle Street College".[6] Whitman's writings and those of Henry David Thoreau, Ralph Waldo Emerson and Edward Carpenter were major influences on Holden's life.[6] He incorporated many of their philosophies and principles into his style of living and method of working.[7]
In 1895 and 1896 Holden submitted designs to Building News Designing Club competitions using the pseudonym "The Owl".[note 3] Although the number of competing submissions made was not always large, from nine competition entries, Holden won five first places, three second places and one third place.[8][9] In 1897, he entered the competition for the RIBA's prestigious Soane Medallion for student architects. Of fourteen entries, Holden's submission for the competition's subject, a "Provincial Market Hall", came third.[10] Holden described the design as being inspired by the work of John Belcher, Edgar Wood and Arthur Beresford Pite.[11]
Family life
Around 1898 Holden began living with Margaret Steadman (née Macdonald, 1865–1954), a nurse and midwife. They were introduced by Holden's older sister, Alice, and became friends through their common interest in Whitman.[12] Steadman had separated from her husband James Steadman, a university tutor, because of his alcoholism and abuse.[13][note 4] Steadman and her husband were never divorced and, though she and Holden lived as a married couple and Holden referred to her as his wife, the relationship was never formalised, even after James Steadman's death in 1930.[15]
The Holdens lived in suburban Norbiton, Surrey (now Royal Borough of Kingston upon Thames) until 1902, when they moved to Codicote in Hertfordshire. Around 1906, they moved to Harmer Green near Welwyn, where Holden designed a house for them.[16] The house was plainly furnished and the couple lived a simple life, described by Janet Ashbee in 1906 as "bananas and brown bread on the table; no hot water; plain living and high thinking and strenuous activity for the betterment of the World".[17] The couple had no children together, though Margaret had a son, Allan, from her marriage.[18][note 5] Charles and Margaret Holden lived at Harmer Green for the rest of their lives.[16]
Works
Early career
Holden left Leeson's practice in 1896 and worked for Jonathan Simpson in Bolton in 1896 and 1897, working on house designs there and at
A number of Holden's early designs were for hospitals, which Adams' practice specialised in. At this early stage in his career, he produced designs in a variety of architectural styles as circumstances required, reflecting the influences of a number of architects.
His red brick arts and craft façades for the
In 1902, Holden won the
At Midhurst, West Sussex, Holden designed Tudor-style façades for the Sir Ernest Cassel-funded King Edward VII Sanatorium (1903–06). The building features long wings of south-facing rooms to maximise patients' exposure to sunlight and fresh air. The design is in keeping with the building's rural setting, with façades in the local tile-hung style.[25][31] Pevsner called this "certainly one of the best buildings of its date in the country" and "a model of how to build very large institutions".[32] He designed the sanitorium's V-shaped open-air chapel so that it could be used for both outdoor and indoor worship.[25][31] Both buildings are Grade II* listed.[33][34] Other hospitals he designed in this period include the British Seamen's Hospital in Istanbul (1903–04) and the Women's Hospital in Soho, central London (1908).[16]
For
In 1906, Holden won the architectural competition to design a new headquarters for the British Medical Association on the corner of The Strand and Agar Street (now Zimbabwe House). The six-storey L-shaped building replaced a collection of buildings on the site already occupied by the Association and provided it with accommodation for a council chamber, library and offices on the upper floors above space for shops on the ground floor and in the basement.[38] Described by Powers as "classicism reduced to geometric shapes",[25] the first three storeys are clad in grey Cornish granite with Portland stone above.[note 6] Located at second floor level was a controversial series of 7-foot (2.1 m) tall sculptures representing the development of science and the ages of man by Jacob Epstein.[25][40][note 7] The building is Grade II* listed.[41] Alastair Service considered it "perhaps his best London building".[42]
In 1909, Holden won the design competition for an extension to the
The practice became Adams & Holden in 1907 when Holden became a partner and Adams, Holden & Pearson when Lionel Pearson became a partner in 1913.[25] In 1913, Holden was awarded the RIBA's Godwin medal and £65 to study architecture abroad. He travelled to America in April 1913 and studied the organisation of household and social science departments at American universities in preparation for his design of the Wren-influenced Kings College for Women, Kensington.[25][44] Other buildings by Holden before the First World War include modernist office buildings in Holborn[45] and Oxford Street,[46] an extension in red brick of Alfred Waterhouse's Shire Hall in Bedford,[47] and Arts and Crafts Sutton Valence School, Kent.[25]
Holden also worked with Epstein on the tomb of
War cemeteries and memorials
The Holdens shared a strong sense of personal duty and service. In the First World War, Margaret Holden joined the "Friends' Emergency Committee for the Assistance of Germans, Austrians and Hungarians in distress" which helped refugees of those countries stranded in London by the conflict. Charles Holden served with the Red Cross's London Ambulance Column as a stretcher-bearer transferring wounded troops from London's stations to its hospitals. Holden also served on the fire watch at St Paul's Cathedral between 1915 and 1917.[49]
On 3 October 1917, Holden was appointed a temporary lieutenant with the army's Directorate of Graves Registration and Enquiries.[50][51] He travelled to the French battlefields for the first time later that month and began planning new cemeteries and expanding existing ones.[52] Holden described his experience:
The country is one vast wilderness, blasted out of recognition where once villages & orchards & fertile land, now tossed about & churned in hopeless disorder with never a landmark as far as the eye can reach & dotted about in the scrub and untidiness of it all are to be seen here & there singly & in groups little white crosses marking the place where men have fallen and been buried.[53]
In September 1918, Holden transferred to the Imperial War Graves Commission (now the Commonwealth War Graves Commission) with the new rank of major.[54] From 1918 until 1928 he worked on 69 Commission cemeteries.[55] Initially, Holden ran the drawing office and worked as the senior design architect under the three principal architects in France and Belgium (Edwin Lutyens, Reginald Blomfield and Herbert Baker).[16][56] Holden worked on the experimental war cemetery at Louvencourt and, according to Geurst and Karol, probably on the one at Forceville that was selected as the prototype for all that followed.[57][58][note 9]
In 1920, he was promoted to be the fourth principal architect.[56][note 10] His work for the Commission included memorials to the New Zealand missing dead at Messines Ridge British Cemetery, and the Buttes New British Cemetery at Zonnebeke.[61] His designs were stripped of ornament, often using simply detailed masses of Portland stone in the construction of the shelters and other architectural elements.[16][62] Philip Longworth's history of the Commission described Holden's pavilions at Wimereux Communal Cemetery as "almost cruelly severe".[63]
In 1922, Holden designed the War Memorial Gateway for Clifton College, Bristol, using a combination of limestone and gritstone to match the Gothic style of the school's buildings.[25][64] For the British War Memorials Committee, he produced a design for a Hall of Remembrance (1918) that would have been in the form of an art gallery,[65] and for New College, Oxford, he created a design for a tiny memorial chapel (1919). Neither was constructed.[66]
London Transport
Through his involvement with the Design and Industries Association, Holden met
During the later 1920s, Holden designed a series of replacement buildings and new façades for station improvements around the UERL's network. Many of these featured Portland stone cladding and variations of the glazed screens developed for the Morden extension.[note 11] At Piccadilly Circus, one of the busiest stations on the system, Holden designed (1925–28) a spacious travertine-lined circulating concourse and ticket hall below the roadway of the junction from which banks of escalators gave access to the platforms below.[72]
In 1926, Holden began the design of a new headquarters for the UERL at
In 1930, Holden and Pick made a tour of Germany, the Netherlands, Denmark and Sweden to see the latest developments in modern architecture.[70] The UERL was planning extensions of the Piccadilly line to the west, north-west and north of London, and a new type of station was wanted. Adapting the architectural styles he had seen on the tour, Holden created functional designs composed of simple forms: cylinders, curves and rectangles, built in plain brick, concrete and glass. The extensions to the west and north-west were over existing routes operated by the District line and required a number of stations to be rebuilt to accommodate additional tracks or to replace original, basic buildings. Sudbury Town, the first station to be rebuilt in 1931, formed a template for many of the other new stations that followed: a tall rectangular brick box with a concrete flat roof and panels of vertical glazing to allow light into the interior. The Grade II* listed building was described by Pevsner as "an outstanding example of how satisfying such unpretentious buildings can be, purely through the use of careful details and good proportions."[77][note 14]
For Arnos Grove station, one of eight new stations on the northern extension of the line, Holden modified the rectangular box into a circular drum, a design inspired by Gunnar Asplund's Stockholm Public Library.[25] Also notable on the northern extension is Southgate station; here Holden designed a single-storey circular building with a canopied flat roof. Above this, the central section of roof rises up on a continuous horizontal band of clerestory windows, supported internally by a single central column. The building is topped by an illuminated feature capped with a bronze ball.[78] Other stations show the influence of Willem Marinus Dudok's work in Hilversum, Netherlands.[79] In order to handle such a large volume of work, Holden delegated significant design responsibility to his assistants, such as Charles Hutton, who took the lead on Arnos Grove Station.[80] For some other Piccadilly line stations the design was handled in-house by Stanley Heaps or by other architectural practices. All followed the modern brick, glass and concrete house style defined by Holden,[25] but some lacked Holden's originality and attention to detail; Pick dubbed these "Holdenesque".[69][note 15]
The UERL became part of
Holden's last designs for London Transport were three new stations for the Central line extension in north-east London.[89] These were designed in the 1930s, but were also delayed by the war and were not completed until 1947. Post-war austerity measures reduced the quality of the materials used compared with the 1930s stations and the building at Wanstead was adapted from a temporary structure constructed during the line's wartime use as an underground factory.[90] Gants Hill is accessed through subways and has no station building, but is notable for the design of its platform level concourse, which features a barrel vaulted ceiling inspired by stations on the Moscow Metro.[89]
University of London
After the First World War, the University of London needed a replacement for its overcrowded and scattered accommodation in Kensington. A site was acquired in Bloomsbury near the British Museum and Holden was commissioned in 1931 to design the new buildings, partly due to the success of 55 Broadway.[39] His original plan was for a single structure covering the whole site, stretching almost 1,200 feet (370 m) from Montague Place to Torrington Street. It comprised a central spine linked by a series of wings to the perimeter façade and enclosing a series of courtyards. The scheme was to be topped by two towers: a smaller one to the north, and a 19-storey, 210-foot (64 m) tall Senate House.[39]
Construction began in 1932, but due to a shortage of funds, the design was gradually revised and cut back, and only the Senate House and Library were completed in 1937, with the buildings for the
Senate House divided opinion. Pevsner described its style as "strangely semi-traditional, undecided modernism", and summarised: "The design certainly does not possess the vigour and directness of Charles Holden's smaller Underground stations."[93] Others have described it as Stalinist,[94] or as totalitarian due to its great scale.[39] Functionalist architect Erich Mendelsohn wrote to Holden in 1938 that he was "very much taken and ... convinced that there is no finer building in London."[95] Historian Arnold Whittick described the building as a "static massive pyramid ... obviously designed to last for a thousand years", but thought "the interior is more pleasing than the exterior. There is essentially the atmosphere of dignity, serenity and repose that one associates with the architecture of ancient Greece."[96] The onset of the Second World War prevented any further progress on the full scheme, although Adams, Holden & Pearson did design further buildings for the university in the vicinity.[25]
Town planning
With virtually no new work being commissioned, Holden spent the war years planning for the reconstruction that would be required once it was over.[97] Holden was a member of the RIBA's twelve-man committee which formulated the institute's policy for post-war reconstruction. Holden's town planning ideas involved the relocation of industry out of towns and cities to new industrial centres in the style of Port Sunlight or Bournville where workers could live close to their workplace. The new industrial centres would be linked to the existing towns with new fast roads and reconstruction in town centres would be planned to provide more open space around the administrative centres.[98]
In 1944–45, Holden produced plans for the reconstruction of
The
In 1947, Holden planned a scheme on behalf of the London County Council for the South Bank of the River Thames between County Hall and Waterloo Bridge,[16][103] including a plan for a concert hall with the council's architect Edwin Williams. The scheme received little attention and was almost immediately superseded by plans to develop the area as the site of the Festival of Britain.[104][note 17] Holden was also architectural and planning consultant to the University of Edinburgh and to the Borough of Tynemouth.[103]
Final years
Although Charles Holden had gradually reduced his workload, he was still continuing to go into the office three days per week during the early 1950s. He did not formally retire until 1958, but even then he visited occasionally. Margaret Holden died in 1954 after a protracted illness which had left her nearly blind since the mid-1940s. In the last decade of his life, Holden was himself physically weaker and was looked after by his niece Minnie Green.[106]
One of Holden's last public engagements was when he acted as a sponsor at the award of the RIBA's Royal Gold Medal to
Holden died on 1 May 1960. He was cremated at Enfield Crematorium and his ashes were spread in the garden of the Friends' Meeting House in Hertford. On 2 June 1960 a memorial service was held at St Pancras New Church, where Holden had designed the altar in 1914. Obituaries were published in daily newspapers The Manchester Guardian, The Times and The Daily Telegraph and in construction industry periodicals including The Builder, Architectural Review, Journal of the Royal Institute of British Architects and Journal of the Town Planning Institute. Generally, the obituaries were positive about Holden's early work and the stations for London Underground, were neutral about Senate House and were negative about his practice's later works.[110] The Harmer Green house and most of its contents were auctioned with the proceeds left to family members. Holden also left £8,400 to friends and staff and £2,000 to charity.[111]
Holden on architecture
Holden recognised that his architectural style placed him in "rather a curious position, not quite in the fashion and not quite out of it; not enough of a traditionalist to please the traditionalists and not enough of a modernist to please the modernists."[112] He believed that the principal aim of design was to achieve "fitness for purpose",[69] and repeatedly called for a style of architecture that avoided unnecessary architectural adornment.
In 1905, in an essay titled "If Whitman had been an Architect", Holden made an anonymous plea to architects for a new form of modern architecture: "Often I hear of the glory of the architecture of ancient Greece; of the proud Romans; of sombre Egypt; the praise of vast Byzantium and the lofty Middle Ages, too, I hear. But of the glory of the architecture of the Modern I never hear. Come, you Modern Buildings, come! Throw off your mantle of deceits; your cornices, pilasters, mouldings, swags, scrolls; behind them all, behind your dignified proportions, your picturesque groupings, your arts and crafts prettinesses and exaggerated techniques; behind and beyond them all hides the one I love."[113][note 19]
In his 1936 speech when presented with the RIBA's Royal Gold Medal, Holden defined his position: "It was not so much a matter of creating a new style, as of discarding those incrustations which counted for style ... surface embroidery empty of structural significance". His method was to focus on "those more permanent basic factors of architecture, the plan, and the planes and masses arising out of the plan."[115] He described his ideal building as one "which takes naturally and inevitably the form controlled by the plan and the purpose and the materials. A building which provides opportunities for the exercise and skill and pleasure in work not only to the designer but also for the many craftsmen employed and the occupants of the building."[116]
In a 1957 essay on architecture, he wrote "I don't seek for a style, either ancient or modern, I want an architecture which is through and through good building. A building planned for a specific purpose, constructed in the method and use of materials, old or new, most appropriate to the purpose the building has to serve."[117]
Recognition and legacy
Holden won the RIBA's London Architecture Medal for 1929 (awarded 1931) for 55 Broadway.
Holden declined the invitation to become a
The RIBA holds a collection of Holden's personal papers and material from Adams, Holden & Pearson. The RIBA staged exhibitions of his work at the Heinz Gallery in 1988 and at the
See also
- List of works by Charles Holden, including cemeteries and memorials for the Imperial War Graves Commission.
- Leslie Green, another architect known for his work on London Underground railway stations in the early 20th century
Notes
- ^ In architecture, "form" refers to the geometric shapes from which a building's basic design is composed; "massing" refers to the size of the shapes, their bulk and the way in which they are grouped together.
- ^ Holden took one class at Manchester School of Art in "Architectural History" (grade: excellent). At Manchester Technical School he took classes in "Brickwork and Masonry" and "Building Construction and Drawing" (first class honours in both).[5]
- ^ The pseudonym was chosen to reflect his working on the designs at night, sometimes until 3 or 4 o'clock.[8]
- ^ According to a letter from Muirhead Bone to his future wife Gertrude Dodd, James Steadman was twice imprisoned: in Edinburgh for living on the earnings of a prostitute and in Liverpool for embezzlement.[14]
- ^ Allan Steadman changed his surname to Holden by deed poll in 1918.[13]
- ^ Holden considered Portland stone "the only stone that washes itself", capable of withstanding London's then smoggy atmosphere.[39]
- ^ The controversy centred on the supposed shocking nakedness of the statues, but Epstein's sculptures were supported by many leaders of the artistic establishment.[40] In the 1930s, after the building had been sold to the government of Southern Rhodesia, the sculptures were defaced, supposedly to prevent pieces falling off.
- ^ Today, the adjacent 1960s hospital extension hides most of Holden's building from view.
- ^ To experiment with layouts and assess the construction costs, three prototype cemeteries were constructed by the Imperial War Graves Commission at Le Tréport, Louvencourt and Forceville. The budget for each cemetery was based on a fixed allowance for each grave it contained, with part of the allowance being allocated to the headstone and the remainder to the cemetery structures and landscaping. To manage costs, Edwin Lutyens' "Stone of Remembrance", which weighed eight tons and cost £500 to make and install, was only provided at larger cemeteries.[59]
- ^ Holden was the only one of the four principal architects to hold a rank and wear a uniform. His assistants included Wilfred Clement Von Berg and William Harrison Cowlishaw.[60]
- ^ Holden's station work of this period includes new buildings at West Kensington and, with Stanley Heaps, at Hounslow West and Ealing Common.[70] New entrances or façades were designed for Mansion House, Archway, St Paul's, Green Park and Holborn.[71] Subsequent reconstructions mean that only West Kensington, Hounslow West, Ealing Common and Holborn remain.
- ^ Speaking about his conception of the plan of 55 Broadway Holden said: "I do not think, that I was ever more excited in my life than when I realised the full possibilities of this cross-shaped plan-good light, no interference with neighbour lights, short corridors and a compact centre, containing all services, complete with lifts and staircase communicating directly with all four wings."[74]
- Alfred Gerrard.[75]
- ^ Holden called them his "brick boxes with concrete lids".[69] The Sudbury Town pattern was reproduced with adaptations at Acton Town, Alperton, Eastcote, Northfields, Oakwood, Rayners Lane, Sudbury Hill and Turnpike Lane.
- ^ Stanley Heaps designed stations at Boston Manor, Osterley; Felix Lander designed Park Royal.[81]
- ^ Dick Whittington was chosen for Highgate because tradition has him "turning again" back to London on Highgate Hill. A centurion was chosen for Elstree South because of the nearby Roman settlement of Sulloniacae.[85] The archer was symbolic of East Finchley's location on the former edge of a royal hunting forest.[87]
- ^ The concert hall was realised as the Royal Festival Hall by Leslie Martin.[105]
- ^ The building, later occupied by Citibank, was demolished so that the site could be redeveloped for a hotel.[109]
- ^ Holden confirmed his authorship in 1951.[114]
- ^ Henry Moore also refused to become a Royal Academician due to the Academy's treatment of Epstein.[119]
- ^ Another reason was that, as they were not married, his partner, Margaret, would not have been able to call herself Lady Holden.[121]
References
- ^ a b Karol 2007, pp. 23–25.
- ^ "No. 25312". The London Gazette. 25 January 1884. pp. 412–413.
- ^ Karol 2007, p. 26.
- ^ Karol 2007, p. 28.
- ^ Karol 2007, pp. 53, 55
- ^ a b c Karol 2007, p. 32.
- ^ McCarthy 1981, p. 146.
- ^ a b Karol 2007, p. 58.
- ^ Allinson 2008, p. 308.
- ^ Karol 2007, p. 64.
- ^ Holden, draft letter to John Betjeman, quoted in Karol 2007, p. 65.
- ^ Karol 2007, pp. 46–47.
- ^ a b Karol 2007, p. 47.
- ^ Bone, Muirhead (16 January 1902), letter to Gertrude Dodd, quoted in Karol 2007, p. 47.
- ^ Karol 2007, pp. 47–48.
- ^ a b c d e f g h i j k Hutton & Crawford 2007.
- ^ Ashbee journals (24 June 1906), quoted in Hutton & Crawford 2007
- ^ Karol 2007, p. 46.
- ^ Karol 2007, pp. 51–52.
- ^ Pevsner 1975, p. 386.
- ^ Karol 2007, p. 56.
- ^ Karol 2007, p. 149.
- ^ Sheppard 1956, pp. 106–08.
- ^ a b c Stevens Curl 2006.
- ^ a b c d e f g h i j k l m n o p q r s Powers 2007.
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- ^ "No. 30342". The London Gazette (Supplement). 16 October 1917. p. 10744.
- ^ Karol 2007, p. 209.
- ^ Geurst 2010, p. 47.
- ^ Holden (29 October 1917), letter to James Wallace, quoted in Karol 2007, p. 209.
- ^ Karol 2007, p. 221.
- ^ Karol 2007, pp. 482–83.
- ^ a b Geurst 2010, p. 60.
- ^ Geurst 2010, p. 50.
- ^ Karol 2007, p. 217.
- ^ Karol 2007, pp. 216–17
- ^ Karol 2007, p. 223.
- ^ Glancey 2009.
- ^ Geurst 2010, pp. 70 & 73.
- ^ Longworth, Philip (1967), quoted in Karol 2007, p. 231.
- ^ Historic England. "Details from listed building database (1202135)". National Heritage List for England. Retrieved 25 September 2010.
- ^ Karol 2007, p. 253.
- ^ Karol 2007, pp. 231 & 233.
- ^ "Underground Journeys: Fitness for Purpose". Royal Institute of British Architects. Archived from the original on 4 May 2011. Retrieved 19 February 2011.
- ^ a b Day & Reed 2008, p. 96.
- ^ a b c d e Orsini 2010.
- ^ a b Day & Reed 2008, p. 99.
- ^ Karol 2007, p. 484.
- ^ Day & Reed 2008, p. 98.
- ^ Historic England. "Details from listed building database (1219790)". National Heritage List for England. Retrieved 25 September 2010.
- ^ Harris 1946, p. 17.
- ^ "55 Broadway". Exploring 20th Century London. London Museums Hub. Archived from the original on 23 October 2011. Retrieved 16 September 2010.
- Department of Culture, Media and Sport. 12 January 2011. Retrieved 14 January 2011.
- ^ Cherry & Pevsner 1991, p. 140.
- ^ Day & Reed 2008, p. 103.
- ^ Sutcliffe 2006, p. 166.
- ^ Hanson, Brian (December 1975). "Singing the Body Electric with Charles Holden". Architectural Review. Vol. clviii. pp. 349–56.
- ^ Day & Reed 2008, p. 114.
- ^ "Underground Journeys: Integrated Design". Royal Institute of British Architects. Archived from the original on 4 May 2011. Retrieved 19 February 2011.
- ^ Beard 2002, p. 82.
- ^ Day & Reed 2008, p. 140.
- ^ a b Beard 2002, p. 78.
- ^ Day & Reed 2008, p. 133.
- ^ a b "Eric Aumonier, sculptor, putting the final touches to "The Archer" East Finchley Underground station". Exploring 20th Century London. London Museums Hub. Archived from the original on 27 March 2012. Retrieved 23 September 2010.
- ^ Beard 2002, p. 124.
- ^ a b Day & Reed 2008, p. 149.
- ^ Emmerson & Beard 2004, p. 119.
- ^ Rice 2003.
- ^ Wright 2006, p. 34.
- ^ Cherry & Pevsner 1998, p. 276.
- ^ Jenkins 2005.
- ^ Mendelsohn, Erich (1938), letter to Holden, quoted in Karol 2008, pp. 6–7.
- ^ Whittick 1974, p. 515.
- ^ Karol 2007, pp. 430–31.
- ^ Karol 2007, pp. 433–35.
- ^ Karol 2007, pp. 437–39.
- ^ Sutcliffe 2006, p. 185.
- ^ Karol 2007, p. 447.
- ^ Karol 2007, p. 453, 459–60.
- ^ a b c d e Who Was Who 2007.
- ^ Karol 2007, p. 463.
- ^ Sutcliffe 2006, p. 178
- ^ Karol 2007, pp. 17 & 466–67.
- ^ a b Karol 2007, p. 472.
- ^ Pevsner & Cherry 1973, p. 379.
- ^ Eade, Christine (6 November 2009). "Silken hotel seeks £110m-plus purse". Property Week. Retrieved 3 April 2011.
- ^ Karol 2007, pp. 469 & 471.
- ^ Karol 2007, p. 469.
- ^ Holden, quoted in Karol 2008, pp. 6–7.
- ^ Anon (Holden, Charles) (June 1905). "If Whitman had been an Architect". Architectural Review. p. 258. Quoted in Karol 2007, pp. 167 & 173.
- ^ Karol 2007, p. 174
- ^ Holden, Charles (1936). "Gold Medal Presentation". RIBA Journal. xliii (3rd Series): 623.
- ^ Holden, quoted in Glancey 2007.
- ^ Holden, Charles (1957). "The Kind of Architecture we want in Britain". Architectural Review. Quoted in Karol 2007, p. 9.
- ^ "Architectural Medal, Underground Railway Offices in Westminster". The Times (45725): 10. 20 January 1931. Retrieved 17 September 2010.
- ^ Karol 2007, p. 467
- ^ Blacker 2004.
- ^ Karol 2007, p. 431
- ^ Karol 2007, p. 17.
- ^ "Underground Journeys: Charles Holden's designs for London Transport". Royal Institute of British Architects. Archived from the original on 6 December 2010. Retrieved 18 December 2010.
- ^ "The Charles Holden". The New Pub Company. Archived from the original on 23 April 2014. Retrieved 23 April 2014.
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Further reading
- Lawrence, David (2008). Bright Underground Spaces: The Railway Stations of Charles Holden. Capital Transport. ISBN 978-1-85414-320-4.
External links
General
- Charlesholden.com (brief introduction to Holden)
- Bristol Central Library (looking at Buildings guide to one of Holden's buildings)
- Underground Journeys: Charles Holden's designs for London Transport (online exhibition from the Royal Institute of British Architects)
- Map of London Underground structures that were designed or inspired by Holden (from the RIBA exhibition)
- "Archival material relating to Charles Holden". UK National Archives.
Image galleries
- London Transport Museum Photographic Archive (search results for "Charles Holden")
- RIBA photographic archive (search results for "Charles Holden")
- Charlesholden.com (image gallery)
Portraits
- Charles Holden in later life (from the LTM Photographic Archive)
- Charles Holden by Francis Dodd, 1915 (from the National Portrait Gallery)