John Vanbrugh: A Master of Drama and Design
In the world of architecture, Sir John Soane's admiration for John Vanbrugh is not surprising. These two architects, who lived at the turn of the 18th century, shared a unique and expressive design sensibility, setting them apart from the restrained neo-Palladian Classicism that dominated British architecture during that time. This affinity is beautifully captured in the current exhibition at Sir John Soane's Museum, marking 300 years since Vanbrugh's passing, and co-curated by Charles Saumarez Smith and architect Roz Barr.
Soane himself was a great admirer of Vanbrugh, referring to him as the 'Shakespeare of architecture'. This admiration is evident in the three horizontal watercolors on display, depicting the façade of Vanbrugh's Blenheim Palace in different lights. These illustrations, created by Soane's office for his lectures at the Royal Academy, showcase the play of shape, form, and shadow in Vanbrugh's architecture, emphasizing its theatricality. The exhibition's subtitle, 'The Drama of Architecture', perfectly encapsulates this aspect of Vanbrugh's work.
What makes Vanbrugh's story particularly fascinating is his background as a celebrated dramatist before becoming an architect. His risqué plays, such as 'The Provoked Wife' (1697), and his pivot to architecture through a theatrical business venture at the Queen's Theatre Haymarket, despite having no architectural training, set the stage for his unique approach to design. This theatrical bent is evident in his work, as he designed not only the venue but also the Earl of Carlisle's country house, Castle Howard, which was inspired by his membership in the aristocratic Kit Kat club.
However, it is often Nicholas Hawksmoor, Vanbrugh's contemporary and collaborator, who receives more admiration among architects. Hawksmoor, who was the clerk of works at Castle Howard and Blenheim, is seen as more cerebral and serious in comparison. This perception may be due to the fact that Vanbrugh, unlike Hawksmoor, designed no churches or other public buildings, focusing primarily on huge luxury private country houses for aristocratic clients.
The exhibition's first room showcases these grand houses, with many of the elevations resembling stage flats. The intricate plans, with their thickly modeled walls, feel more about the enfilade of shapes and patterns than the spaces they enclose. However, a sketch in Vanbrugh's own hand, a bird's-eye perspective of Castle Howard, takes viewers beyond the set pieces and into his inventive spirit. This sketch, along with a plethora of sketches in the second gallery, demonstrates Vanbrugh's restless inventiveness and his excitement for experimentation.
The second gallery reveals a treasure trove of sketches, chosen by Barr from a sketchbook acquired by the V&A in the 1990s. These drawings showcase Vanbrugh's ideas for houses big and small, including those he built for himself and his family in Greenwich. The sketches are a testament to his rigour and thought process, even if some are just fantasy doodles.
The exhibition's coda is a brilliant short film by filmmaker Jim Venturi, his son, and writer Anita Naughton. The film features Robert Venturi and Denise Scott Brown visiting Blenheim Palace, providing a fascinating insight into their reaction to Vanbrugh's work and their own architectural philosophy. The broken upper pediment of Blenheim Palace directly inspired the design of Venturi's famous Mother's House, completed in 1964.
In conclusion, this small exhibition offers a unique perspective on Vanbrugh's work, highlighting his dramatic and theatrical approach to architecture. It is a testament to his inventiveness and excitement for design, and a reminder of the enduring impact he has had on the world of architecture. As we reflect on his legacy, we are reminded of the power of creativity and the importance of embracing the dramatic in our own architectural endeavors.
