Later Urban Work
Barry remodelled Trafalgar Square (1840–45) he designed the north terrace with the steps at either end, and the sloping walls on the east and west of the square, the two fountain basins are also to Barry's design, although Edwin Lutyens re-designed the actual fountains (1939).
Barry was commissioned to design (1840–42) the facade of Pentonville (HM Prison), that was designed by Joshua Jebb, he added a stuccoed Italinate pilastered frontage to Caledonian Road. The (Old) Treasury (Now Cabinet Office) Whitehall by John Soane, built (1824-6) was virtually rebuilt by Barry (1844–47). It consists of 23 bays with a giant Corinthian order over a rusticated ground floor, the five bays at each end project slightly from the facade.
Bridgewater House, Westminster, London (1845–64) for Francis Egerton, 1st Earl of Ellesmere, in a grand Italianate style. The structure was complete by 1848, but interior decoration was only finished by 1864. The main (south) front is 144 feet long, of nine bays in more massive version of his earlier Reform Club, the garden (west) front is of seven bays. The interiors are intact apart from the north wing which was bombed in The Blitz. The main interior is the central Saloon, a roofed courtyard of two storeys, of three by five bays of arches on each floor, the walls are lined with scagliola, the coved ceiling is glazed and the centre has three glazed saucer domes. The decoration of the major rooms is not the work of Barry.
The last major commission of Barry's was Halifax Town Hall (1859–62), in a North Italian Cinquecento style, and a grand tower with spire, the interior includes a central hall similar to that at Bridgewater House, the building was completed after Barry's death by his son Edward Middleton Barry.
Completed after Barry's death in 1863 was the classical, Guest Memorial Reading Room and Library in Dowlais, Wales.
The most significant of Barry's designs that were not carried out included, his proposed Law Courts (1840–41), that if built would have covered Lincoln's Inn Fields with a large Greek Revival building, this rectangular building would have been over three hundred by four hundred feet, in a Greek Doric style, there would have been octastyle porticoes in the middle of the shorter sides and hexastyle porticoes on the longer sides, leading to a large central hall that would have been surrounded by twelve court rooms that in turn were surrounded by the ancillary facilities. Later was his General Scheme of Metropolitan Improvements, that were exhibited in 1857. This comprehensive scheme was for the redevelopment of much of Whitehall, Horse Guards Parade, the embankment of the River Thames on both sides of the river in the areas to the north and south of the Palace of Westminster, this would eventual be partially realised as the Victoria Embankment and Albert Embankment, three new bridges across the Thames, a vast Hotel where Charing Cross railway station was later built, the enlargement of the National Gallery (Barry's son Edward would later extend the Gallery) and new buildings around Trafalgar Square and along the new embankments and the recently created Victoria Street. There were also several new roads proposed on both sides of the Thames. The largest of the proposed buildings would have been even larger than the Palace of Westminster, this was the Government Offices, this vast building would have covered the area stretching from horse Guards Parade across Downing Street and the sites of the future Foreign and Commonwealth Office and the HM Treasury on Whitehall up to Parliament Square. It would have had a vast glass-roofed hall, 320 by 150 feet, at the centre of the building. The plan was to house all government departments apart from the Admiralty in the building. The building would have been in a Classical style incorporating Barry's existing Treasury building.
Read more about this topic: Charles Barry
Famous quotes containing the words urban and/or work:
“A peasant becomes fond of his pig and is glad to salt away its pork. What is significant, and is so difficult for the urban stranger to understand, is that the two statements are connected by an and and not by a but.”
—John Berger (b. 1926)
“I cant work without a model. I wont say I turn my back on nature ruthlessly in order to turn a study into a picture, arranging the colors, enlarging and simplifying; but in the matter of form I am too afraid of departing from the possible and the true.”
—Vincent Van Gogh (18531890)