Edwin Lutyens

For more information on Sir Edwin Landseer Lutyens, visit Britannica.com.

(b London, 29 March 1869; d London, 1 Jan 1944). English architect. His biographer asserted that 'In his lifetime he was widely held to be ... [Britain's] greatest architect since Wren if not, as many maintained, his superior' (Hussey, 1950, p. xvii). In an extensive and wide-ranging oeuvre Lutyens's successful integration of the romantic and classical traditions sustained his pre-eminence in British architecture for nearly half a century through a complex period of its development. He may be regarded as representing an alternative tradition to that which led to the acceptance of the Modern Movement in Britain.

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Edwin Landseer Lutyens (1869-1944) was one of England's most prominent and inventive architects working in a traditional manner during the late 19th and early 20th centuries.

Edwin Landseer Lutyens was born on March 29, 1869, in London, England, the 11th of 14 children of an army captain who retired from service to study art with the English animal painter Edwin Landseer, after whom the young Lutyens was named. As a boy he wandered the Surrey countryside where he developed an appreciation for the local crafts traditions and a special admiration for the complex interlocking shapes of the vernacular cottages and barns found in the region.

At age 16 Lutyens attended the South Kensington School of design to study architecture. He then joined the office of Ernst George (1839-1922), a talented pupil of Norman Shaw (1831-1912). The influence of Shaw, Philip Webb (1831-1915), and the English Arts and Crafts Movement became the foundation for Lutyens' creative career. Upon establishing his own office in 1889, at age 20, Lutyens embarked on a long career that included every kind of commission, from cottage design through commercial and ecclesiastical buildings to town planning. His work can for the most part be divided into three general stylistic categories: Romantic Vernacular, Neo-Georgian, and Neo-Classical.

Lutyens established a national reputation early in his career by designing houses for the English nouveau riche in a rambling, picturesque vernacular style derived from Shaw. These houses, like the majority of his work, reveal his mastery of spatial play with rooms flowing together in a loose, coherent manner. His designs are characterized by their incorporation of traditional vernacular styles and an honest use of local materials. An important feature of these houses is their careful integration with romantically conceived gardens, frequently designed in collaboration with the famous garden designer Gertrude Jekyll (1843-1932). In fact, his first major house, Mustead Wood, Godalming, Surrey, was designed for Jekyll, a close personal friend of Lutyens who did much to promote his career. In Mustead Wood, tile roofs come right down to the tops of the doors and large gables with windows that are treated as strips made of oak-framed casements with leaded lights.

One of Lutyens' most inventive houses is Deanery Gardens, Sonning, Berkshire (1899), designed for Robert Hudson, founder of Country Life, a magazine to which Jekyll contributed numerous articles. Lutyens created a rambling, picturesque composition with the complex interlocking of architectural elements that characterizes so many of his house designs. His delight in the interplay of spaces is displayed here in the southeastern corridor, which runs straight through the house, becoming partly open and covered passage for the family from entrance to garden. Lutyens, who believed architecture should sometimes exhibit a bit of humor or wit, often exaggerated dominant features such as tall brick chimneys, mullioned windows, and deep gables.

Lutyens' Neo-Georgian work, which he jokingly referred to as his "Wrenniassance Style" (after the great English baroque architect Christopher Wren) is typified by the use of English baroque forms and details. Characteristic examples of this stylistic approach include his much copied design for Middlefield, Great Helford, Cambridge (1908), with its symmetrical plan, classical details, sweeping roofs, and tall chimney stacks. The alternating planes of the chimneys, the outer chimney planes projecting outward and reversed for the central chimney, reveal Lutyens' inventive love of form. This same inventive spirit is found in his Neo-Georgian design for Ednaston Manor, Brallsford, Derbyshire (1912). Here the simple brick facade, symmetrically organized with a central pedimented facade that features an elaborate broken scroll pediment for the central doorway, is divided by plain pilaster strips. The carved panels in the coved cornice, placed above each pilaster, create the witty allusion of classical capitals.

Lutyens' controlling sense of proportion and organizational principles eventually led him to explore the harmony, strength, and repose of classical design. Counter to the romantic, rambling plans of his earlier houses, Lutyens increasingly began to incorporate a strong sense of balance, symmetry, and order in his designs. Lutyens viewed the manipulation and organization of the classical vocabulary as a great intellectual game to be played by the architect to create unique, individual designs. His first exercise in this Neo-Classical idiom came with the commission for Heathcoate, Ilkley, Yorkshire (completed in 1906). Here the plan is strictly symmetrical - a large central block with two rectangular side wings. Lutyens created a pseudo-Italian villa with smooth grey Gulseley stone walls, red pantiled roofs, and a full range of Roman Doric elements, including columns, pilasters, metopes, guttea, and triglyphs.

The crowning achievement of Lutyens' Neo-Classical work is his Viceroy's House (1912-1932) and related planning of the new colonial capital in New Delhi, India. The Viceroy's House is an excellent example of Lutyens' interest in abstract classical design and rich use of materials. The large structure, surmounted by a huge dome, displays slightly battered walls constructed of pink and cream Dholpur sandstone. The design exhibits a strong abstract quality achieved by the organization of mass and geometry rather than through the inclusion of classical details or ornament. Through intense study and thought Lutyens attempted to distill the classical vocabulary down to its pure essence or, as the architect stated, "They have to be so well digested that there is nothing but essence left." This approach to classicism recalls the work of the revolutionary French 18t-century architects Étienne-Louis Boullée (1728-1799) and Claude Ledoux (1736-1806).

Lutyens creatively blended particular Moghul features into his monumental design. These include the chattris, or roof pavilions, and the chujjas, or pronounced projecting cornices, which produce much needed shadows. The lower part of the dome is also derived from traditional Indian architecture, being patterned on such monuments as the circular palisade of the Great Stupa at Sanchi in India. Lutyens selected this feature not only for its Indian association but for its grid-like form, which harmonizes with the geometrical basis of the entire design. The dome, therefore, is a hybrid of classical and Moghul emblems of authority producing the desired imperial associations for the British Raj.

The interior also displays the architect's sensitivity to the dry, hot climate of the region. Everywhere unsuspected spaces open up to the sky, bringing fresh air and breezes to the interior. Water plays an important role in the interior and exterior, where Lutyens created a formal garden with fountains and radiating paths that blend traditional elements of Moghul design and English garden schemes.

Although Lutyens did not study at the Ecole des Beaux-Arts in France, his strictly formal plan for the city of New Delhi reflects basic French planning principles. The city was laid out along a dominant central axis terminating with the Viceroy's House. Radiating avenues connect this central structure with the secretariats, designed by Herbert Baker (1862-1946), which symbolically link the division of power, recalling the formal scheme for Washington, D.C. that inspired it.

The success of the New Delhi commission led to Lutyens' selection to design memorials for those who died in World War I. Again Lutyens turned to the abstract classical language that he had explored in his New Delhi designs. The greatest of these monuments was the Memorial to the Missing of the Somme at Thiepval near Aaras, France (1927-1932). Lutyens selected the classical triumphal arch as the basis for his design but manipulated this precedent to produce a highly inventive composition. The memorial does not glorify war and triumph, but with its sense of interlocking parts becomes a sublime reminder of the senseless slaughter of the war. The large blank surfaces provided area for the inscription of the names of over 70,000 missing men.

Throughout his career Lutyens received numerous awards and honors, beginning with his knighthood in 1918. This was followed by his election as a Royal Academician in 1920 and his award of the Royal Gold Medal for Architecture in 1921. He became president of the Royal Academy in 1938, and when he died on January 1, 1944 his ashes were honorably interred in St. Paul's Cathedral, London.

Further Reading

The best biography of Lutyens is Christopher Hussey's book The Life of Sir Edwin Lutyens (London, 1950), which includes an extensive analysis of his buildings. Later studies of Lutyens' work include Roderick Gradidge, Edwin Lutyens: Architect Laureate (London, 1981). Other sources which are particularly good for their illustrations are A. S. G. Butler's book The Architecture of Sir Edwin Lutyens (3 vols., London, 1950), which includes a magnificent compilation of Lutyens' main works in drawings, photographs, and descriptions, and the exhibition catalogue by Colin Amery et al., Lutyens: The Work of the English Architect Sir Edwin Lutyens (1869-1944) (London, 1981), includes an excellent bibliography. For the creative relationship between Lutyens and the garden designer Gertrude Jekyll see Jane Brown, Gardens of a Golden Afternoon. The Story of a Partnership: Edwin Lutyens and Gertrude Jekyll (London, 1982).

Additional Sources

Brown, Jane, Gardens of a golden afternoon: the story of a partnership, Edwin Lutyens & Gertrude Jekyll, New York: Van Nostrand Reinhold, 1982; New York: Penguin Books, 1994.

Gradidge, Roderick, Edwin Lutyens: architect laureate, London; Boston: Allen & Unwin, 1981.

Hussey, Christopher, The life of Sir Edwin Lutyens, Woodbridge, Suffolk: Antique Collectors' Club, 1989.

Lutyens, Mary, Edwin Lutyens, London: Murrary, 1980; London: Black Swan, 1991.

Lutyens, Sir Edwin Landseer (1869-1944). English architect. Starting in 1896 with Munstead Wood (Surrey) for the gardener Gertrude Jekyll (1843-1942), Lutyens's early houses include Deanery Gardens, Sonning, Berks. (1899-1902), Tigbourne Court, Witley, Surrey (1899-1901), and Folly Farm, Sulhamstead, Berks. (1905). All demonstrate his ingenious planning and his imagination, sensitivity, and wit in the use of brick, tile, stone, and other traditional materials. Lutyens's commitment to classicism is best seen in such London office buildings as Britannic House (1920-4) and the Midland Bank (1924-37), and in his design for the Roman catholic cathedral, Liverpool (1929-44). Lutyens's Cenotaph in Whitehall (1919-20) lacks the eerie grandeur of his memorial to the missing of the Somme at Thiepval, near Arras, France (1927-32).

English architect held by some as the greatest since Wren. He began his career in the office of George and Peto, where he met Herbert Baker. In 1889 he set up his own practice, and designed the house, gardens, and stables at Crooksbury, Surrey, influenced by works of George, Norman Shaw, and Philip Webb. Indeed, his early houses were pleasant Arts-and-Crafts buildings incorporating Surrey vernacular elements, e.g. steeply pitched tiled roofs, tall brick chimneys, and casement-windows with leaded lights, but he began to achieve real distinction shortly after he met and began to collaborate with Gertrude Jekyll, the artist and gardener, who was to work with him on the design of many gardens over the next two decades. Jekyll commissioned Munstead Wood, Munstead, Surrey (1896–9), where Lutyens's use of finely crafted traditional building-materials and the subtle relationship between house and garden demonstrate a new sensitivity prompted by Jekyll's Ruskin-inspired beliefs. Among his best houses of the late-Victorian period are Fulbrook, near Elstead (1897–9), Orchards, Munstead, near Godalming (1897–9), both in Surrey, and Roseneath, Dumbartonshire, Scotland (1898). At Les Bois des Moutiers, Varengeville-sur-Mer, France (1897–8), certain elements, such as the tall windows, pre-empted some of Mackintosh's work, notably the Library windows at the Glasgow School of Art (1907–9).

With Tigbourne Court, Witley, Surrey (1899–1901), a new theme of Classically composed formal symmetry began to emerge. He again used vernacular motifs at Deanery Garden, Sonning, Berks. (1899–1902), but the prominent axes connecting elements inside and outside the building had a similarity to ideas then being pursued by F. L. Wright. For the same client, Edward Burgess Hudson ((1854–1936)), founder (1897) of Country Life, Lutyens reconstructed and reworked Lindisfarne Castle, Holy Island, Northum. (1903–4). From around this time his work began to draw on a wider range of styles. At Little Thakeham, Sussex (1902), for example, the exterior continued the vernacular late-Tudor manner, but the interior, with its double-height hall and stair, contains Classical Mannerist elements. Classical pilasters graced Homewood, Knebworth, Herts. (1901), and aspects of Mannerism were explored at Overstrand Hall, Cromer, Norfolk (1899–1901).

Then, with Heathcote, Ilkley, Yorks. (1906), came a change of direction. The house is a palazzo, with the Doric Order as used by Sanmicheli at the Porta Palio, Verona (c.1545), but Lutyens made the antae of the Order disappear into the walls, re-emerging only as base and capital (a device also used with pilasters on many of his buildings, including the Midland Bank, Poultry, London (1924–39)). Heathcote marked the period when Lutyens was fired with enthusiasm for what he called the ‘big game, the high game’, of Classical architecture. He employed a William-and-Mary style at Folly Farm, Sulhampstead, Berks. (1906), while Nashdom, Taplow, Bucks. (1905–8), was a vast pile in the early Neo-Georgian style, and William-and-Mary was used with great sensitivity at The Salutation, Sandwich, Kent (1911), one of his most serene creations. Castle Drogo, Drewsteignton, Devon (1910–32), however, is an allusion to medieval domestic architecture, built of granite, with mullioned and transomed windows and powerfully composed interiors and stairs. For Hudson's Country Life offices at Tavistock Street, Covent Garden, London (1904), Lutyens drew on Wren's work at Hampton Court Palace for the façade, and at Hampstead Garden Suburb, London (1908–10), he designed the formal centre with two Churches, the Institute, and surrounding houses.

In 1912 Lutyens was appointed architect for the planning of New Delhi, India, and was joined by Baker, who was to design several of the buildings there. Together they created a magnificent Beaux-Arts-inspired work of civic design centred on the huge Viceroy's House by Lutyens (1912–31): the latter, with its Private and State Rooms, planned with unerring skill, is an eloquent testament to Lutyens's greatness as an architect. Certain Indian architectural elements were incorporated, such as the chatris and chujjah; the dome was derived from a stupa; and Lutyens invented a ‘Delhi Order’, a version of Roman Doric of different heights, the capitals all at one level, but the bases not. The gardens, too, were an ingenious synthesis of Eastern and Western themes.

Lutyens became one of the chief architects (with Baker, Reginald Blomfield, and Holden) to the Imperial War Graves Commission (from 1917). He designed many of the Cemeteries, including that at Étaples, France (1923–4), with twin arched pavilions carrying stone sculptured military standards and cenotaphs on high catafalques. He was also responsible for the Cenotaph, Whitehall, London (1919–20—a tall podium with subtle entasis carrying a tomb-chest); for the Stone of Remembrance to be erected in the War Cemeteries; and for Memorials to the Missing, including that to the Missing of the Somme, at Thiepval (1927–32), a metamorphosis of the triumphal arch with its subordinate sides also triumphal arches.

During the 1920s Lutyens's practice changed direction towards commercial buildings. His works included the Midland Bank, Piccadilly, London (1921–5); Britannic House, Finsbury Circus, London (1920–4); the Midland Bank, Manchester (late 1920s); and Offices in Pall Mall, London (1929). For the British Embassy, Washington, DC (1927–8), he employed an American Colonial Georgian style, and designed subtly detailed buildings at Magdalene College, Cambridge (1928–32), and Campion Hall, Oxford (1935–42). His later years were devoted to the design of the RC Cathedral, Liverpool (from 1929), to be a huge building based on similar ideas to those of the Thiepval Memorial, the whole composition crowned by an enormous dome larger than that of St Peter's, Rome. Only part of the crypt was built (1933–41), but the Sublime dark-brick vaults, inventive Orders, and Mannerist detail (including a key-stone ‘bending’ a transome) are impressive. Lutyens's greatest design was abandoned after the 1939–45 war, and Gibberd's hesitantly-detailed circular structure was erected instead, uneasily perched on its podium. Lutyens also designed the Beatty and Jellicoe Memorial Fountains, Trafalgar Square, London (1937–9), and the Irish National War Memorial, Phoenix Park, Dublin (1930).

After his death Lutyens's reputation declined with the rise of International Modernism, but began to revive after major exhibitions in NYC (1978) and London (1981).

Bibliography

• Amery et al. (1982)
• Arkansas, clxx/1077 (Nov. 1981), 311–18
• J. Brown (1982, 1996)
• A. S. J. Butler (1950)
• Gradidge (1980, 1981)
• Hussey (1989)
• Inskip (1979)
• Lutyens (1991)
• Placzek (ed.) (1982)
• Ridley (2002)
• Stamp (1976, 1977, 2001)
• Stamp & Hopkins (eds.) (2002)
• Jane Turner (1996)
• Weaver (1981)
• Wilhide (2000)

The full bibliography for this book is available to download as a pdf file.
Download the bibliography for A Dictionary of Architecture and Landscape Architecture (PDF: 1.2MB)

Edwin Lutyens

Sir Edwin Landseer Lutyens, OM, KCIE, Kt, PRA, FRIBA, LLD (29 March 1869 – 1 January 1944) was a leading 20th century British architect who is known for imaginatively adapting traditional architectural styles to the requirements of his era. He designed many English country houses.

He has been referred to as "the greatest British architect"^[1] and is best known for playing an instrumental role in designing and building a section of the metropolis of Delhi, known as New Delhi, which would later on serve as the seat of the Government of India.^[2] In recognition of his contribution, New Delhi is also known as "Lutyens' Delhi". In collaboration with Herbert Baker, he was also the main architect of several monuments in New Delhi such as the India Gate, he also designed the Viceroy's House now known as the Rashtrapati Bhavan.^[3][4]

Contents 1 Biography 1.1 Private practice 1.2 His works 1.3 New Delhi 1.4 Works in Ireland 1.5 Marriage and later life 2 Gallery of Lutyens's work 3 See also 4 Notes 5 Publications 6 Further reading 7 External links

Biography

He was born in London and grew up in Thursley, Surrey. He was named after a friend of his father's, the painter and sculptor, Edwin Landseer. For many years he worked from offices at 29 Bloomsbury Square, London. Lutyens studied architecture at South Kensington School of Art, London from 1885 to 1887. After college he joined the Ernest George and Harold Ainsworth Peto architectural practice. It was here that he first met Sir Herbert Baker.

Private practice

He began his own practice in 1888, his first commission being a private house at Crooksbury, Farnham, Surrey. During this work, he met the garden designer and horticulturalist Gertrude Jekyll. In 1896 he began work on a house for Jekyll at Munstead Wood, Godalming, Surrey. It was the beginning of a fruitful professional partnership that would define the look of many Lutyens country houses.

The "Lutyens-Jekyll" garden overflowed with hardy shrubery and herbaceous plantings within a firm classicising architecture of stairs and balustraded terraces. This combined style, of the formal with the informal, exemplified by brick paths, softened by billowing herbaceous borders, full of lilies, lupins, delphiniums, and lavender was in direct contrast to the very formal bedding schemes favoured by the previous generation in the Victorian era. This new "natural" style was to define the "English garden" until modern times.

Lutyens' fame grew largely through the popularity of the new lifestyle magazine Country Life created by Edward Hudson, which featured many of his house designs. Hudson was a great admirer of Lutyens' style and commissioned Lutyens for a number of projects, including Lindisfarne Castle and the Country Life headquarters building in London. One of his assistants in the 1890s was Maxwell Ayrton.^[5]

His works

Initially, his designs all followed the Arts and Crafts style, but in the early 1900s his work became more classical in style. His commissions were of a varied nature from private houses to two churches for the new Hampstead Garden Suburb in London to Julius Drewe's Castle Drogo near Drewsteignton in Devon and on to his contributions to India's new imperial capital New Delhi (where he worked as chief architect with Herbert Baker and others). Here he added elements of local architectural styles to his classicism, and based his urbanization scheme on Mughal water gardens. He also designed the beautiful, Hyderabad House, for the Last Nizam of Hyderabad, as his Delhi palace.

He also designed a chalk building, Marsh Court, in Hampshire, England, built between 1901 and 1905, it is the last of his Tudor designs and was based on a variant of ancient rammed earth building techniques. In 1903 the main school building of Amesbury Prep School in Hindhead, Surrey was designed and built. It is the only school to have been purpose built as such by Lutyens, and as such is unique. It is now a Grade 2* listed building of National Significance. The building has been extensively renovated in the last five years.

The Cenotaph, Whitehall

Before the end of World War I, he was appointed one of three principal architects for the Imperial War Graves Commission and was involved with the creation of many monuments to commemorate the dead. The best known of these monuments are the Cenotaph, Westminster and the Memorial to the Missing of the Somme, Thiepval. The Cenotaph was originally commissioned by David Lloyd George as a temporary structure to be the centrepiece of the Allied Victory Parade in 1919. Lloyd George proposed a Catafalque — a low empty platform but it was Lutyens' idea for the taller monument. The design took less than six hours to complete. Many local war memorials (such as the one at All Saints, Northampton) are Lutyens designs — based on the Cenotaph. He also designed the War Memorial Gardens in Dublin, which were restored in the 1990s. Other works include the Tower Hill memorial, and (to a similar design to his India Gate) a memorial in Victoria Park in Leicester. Lutyens also refurbished Lindisfarne Castle for its wealthy owner.

He was knighted in 1918,^[6] and was elected a Fellow of the Royal Academy in 1921^[7]. In 1924, he was appointed a member of the newly created Royal Fine Art Commission,^[8] a position he held until his death.

Whilst work continued in New Delhi, Lutyens continued to receive other commissions including several commercial buildings in London and the British Embassy in Washington, DC.

In 1924 he completed the supervision of the construction of what is perhaps his most popular design: Queen Mary's Dolls' House. This four storey Palladian villa was built in 1/12th scale and is now a permanent exhibit in the public area of Windsor Castle. It was not conceived or built as a plaything for children — its goal was to serve as an exhibit of the finest British craftsmanship of the period.

He was commissioned in 1929 to design a new Roman Catholic cathedral in Liverpool. Lutyens planned a vast building of brick and granite, topped with towers and a 510-foot dome, with commissioned sculpture work by Charles Sargeant Jagger and W. C. H. King. Work on this magnificent building started in 1933, but was stopped during the Second World War. After the war the project ended due to a shortage of funding, with only the crypt completed. A model of Lutyens' unrealised building is displayed in the Walker Art Gallery. ^[9][10] (The architect of the present Liverpool Metropolitan Cathedral, which was built over land adjacent to the crypt and consecrated in 1967, was Sir Frederick Gibberd.)

In 1945, a year after his death, A Plan for the City & County of Kingston upon Hull was published. Lutyens worked on the plan with Sir Patrick Abercrombie and both are credited as its co-authors. Abercrombie's introduction in the plan makes special reference to Lutyens's contribution. The plan was however rejected by the City Council of Hull.

New Delhi

Largely designed by Lutyens over twenty or so years, New Delhi, situated within the metropolis of Delhi, was chosen to replace Calcutta as the seat of the British Indian government in 1912; the project was completed in 1929 and officially inaugurated in 1931. In undertaking this project, Lutyens invented his own new Order of classical architecture, which has become known as the "Delhi Order" and was used by him for several designs in England, such as Campion Hall, Oxford. Unlike the more traditional British architects who came before him, he was both inspired by and incorporated various features from the local and traditional Indian architecture — something most clearly seen in the great drum-mounted Buddhist dome of the Viceregal Lodge, now Rashtrapati Bhavan. This palatial building, containing 340 rooms, is built on an area of some 330 acres (1.3 km²) and incorporates a private garden also designed by Lutyens. The building was designed as the official residence of the Viceroy of India and is now the official residence of the President of India.

Lutyens was made a Knight Commander of the Order of the Indian Empire (KCIE) on 1 January 1930.^[11]

The "Delhi Order" columns at the front entrance of the palace have bells carved into them which, it has been suggested, Lutyens had designed with the idea that as the bells were silent the British rule would never come to an end. At one time, more than 2,000 people were required to look after the building and serve the Viceroy's household.

The new city contains both the Parliament buildings and government offices (many designed by Herbert Baker) and was distinctively built of the local red sandstone using the traditional Mughal style.

When drawing up the plans for New Delhi, Lutyens planned for the new city to lie southwest of the walled city of Shahjahanbad. His plans for the city also laid out the street plan for New Delhi consisting of wide tree-lined avenues.

Built in the spirit of British colonial rule, the point where the new imperial city and the older native settlement met was intended to be a market; it was there that Lutyens imagined the Indian traders would participate in "the grand shopping centre for the residents of Shahjahanabad and New Delhi", thus giving rise to the present D-shaped market seen today.

Lutyens' work in New Delhi is the focus of Robert Grant Irving's book Indian Summer.

The bust of Lutyens in the former Viceroy's House is the only statue of a Westerner left in its original position in New Delhi. Many of the garden-ringed villas in the Lutyens Bungalow Zone (LBZ) that were part of Lutyens' original scheme for New Delhi are under threat due to the constant pressure for development in Delhi. The LBZ was placed on the 2002 World Monuments Fund Watch List of 100 Most Endangered Sites. It should be noted that none of the bungalows in the LBZ were designed by Lutyens - he only designed the bungalows in the Presidential Estate surrounding Rashtrapati Bhavan.

Works in Ireland

Works in Ireland include the Irish National War Memorial Gardens in Dublin; Heywood Gardens, County Laois (open to the public); extensive changes and extensions to Lambay Castle, Lambay Island; alterations and extensions to Howth Castle, County Dublin; The unbuilt Hugh Lane gallery straddling the River Liffey on the site of the Ha'penny Bridge and the unbuilt Hugh Lane Gallery on the west side of St Stephen's Green; and a hunting lodge in north County Donegal.

Marriage and later life

Two years after she proposed to him and in the face of parental disapproval, Lady Emily Lytton (1884-1964), third daughter of Edward Bulwer-Lytton the 1st Earl of Lytton, a former Viceroy of India, married Lutyens on 4 August 1897 at Knebworth, Hertfordshire. They had five children but the union was largely unsatisfactory, practically from the start. The Lutyens' marriage quickly deteriorated, with Lady Emily turning her interest to theosophy, Eastern religions and a fascination – emotional and philosophical – with the guru Jiddu Krishnamurti.

The couple's daughter Elisabeth Lutyens became a well-known composer; another daughter, Mary Lutyens, became a writer known for her books about Krishnamurti. A grandson was Nicholas Ridley, cabinet minister under Margaret Thatcher.

Children

1. Barbara Lutyens (b. 1898) married 10 May 1920 (as his 2nd wife) Capt. Rt. Hon. (David) Euan Wallace, M.C., M.P. (1892-1941). (Euan Wallace was first married 1913-1919 to Lady Idina Sackville, and had two sons by her).^[12] Barbara's third and only surviving son was Billy Wallace (b. 1927), a former escort of Princess Margaret. Barbara Lutyens married 2ndly in 1945 Lt. Cmdr. Herbert Agar, USNR.
2. Robert Lutyens (1901-1971^[13]/1972), an architect with his father; he was also an interior designer, journalist, and writer. He married twice and had a son by his first marriage and a daughter Candia, a furniture maker,^[14] by his second marriage.^[15]

1. Ursula (1904-1967) married 1924 the 3rd Viscount Ridley, by whom issue including Matthew Ridley, 4th Viscount Ridley (b. 1925) and his brother Nicholas Ridley, Baron Ridley of Liddesdale (1929-1993), and a daughter.
2. Agnes Elisabeth Lutyens (1906-1983); twice married, and had issue, one son and twin daughters by her first husband. By her second husband Edward Clark, she had a son born before marriage.^[16][17]
3. Edith Mary Lutyens (1908-1999); a stockbroker Anthony Rupert Herbert Franklin Sewell. They had issue, one daughter. She married 2ndly 1945 the art historian and royal furrier J.G. Links (d. 1997).^[18]

Living relatives

1. Alexandra Lutyens, grand niece of Edwin Lutyens.
2. Quentin Johnson, husband of Alexandra Lutyens, grand nephew in law of Edwin Lutyens.
3. Daisy Lutyens, daughter of Alexandra Lutyens, great grand niece of Edwin Lutyens.
4. Ned Lutyens, son of Alexandra Lutyens, great grand nephew of Edwin Lutyens.

In the later years of his life, Lutyens suffered with several bouts of pneumonia. In the early 1940s he was diagnosed with cancer. He died on 1 January 1944. His memorial, designed by his friend and fellow architect William Curtis Green, is in the crypt of St. Paul's Cathedral, London.

Gallery of Lutyens's work

St Jude's, Hampstead Garden Suburb	Free Church, Hampstead Garden Suburb	Castle Drogo, Devon	British Medical Association, Tavistock Square, London
Memorial to the Missing of the Somme, Thiepval, France	War Memorial in the village of Mells	The India Gate, Delhi	War Memorial, Victoria Park, Leicester
Hampton Court Bridge	Tower Hill Memorial, Trinity Square, London	Nashdom, Taplow, South Buckinghamshire	Lutyens designed Broughton memorial lodge and pier Runnymede
Castle Drogo West Facade Main Entrance	Castle Drogo Chapel & Garden from North	Midland Bank Headquarters (former), Poultry, London	Britannic House, Finsbury Circus, London

See also

• Garden real estate
• History of gardening
• Gertrude Jekyll
• New Delhi
• Runnymede
• Herbert Tudor Buckland

Notes

1. ^ "The Memorial to the Missing of the Somme" 2006. Gavin Stamp
2. ^ http://books.google.com/books?id=3Fm3XlYuSzAC&pg=RA1-PA92&dq=lutyens+new+delhi&lr=&sig=ACfU3U32X-BQnfO7ix1z5UuWW0TkhuooUw
3. ^ http://books.google.com/books?id=vct8g3U855cC&pg=PA344&dq=lutyens+new+delhi+india+gate&sig=ACfU3U06g9y8KU1PoVuq5ZFT8CYUvUDDlQ
4. ^ http://books.google.com/books?id=YVQJvcI1XeoC&pg=PA320&dq=lutyens+new+delhi&lr=&sig=ACfU3U2rPi0qKHeaRs72Lvpmi_h2qr-m-g
5. ^ Ormrod Maxwell Ayrton at scottisharchitects.org.uk, accessed 4 February 2009
6. ^ London Gazette: no. 30607, p. 4026, 1918-04-02. Retrieved on 2007-11-29.
7. ^ Having previously been an Associate of the Academy
8. ^ London Gazette: no. 32942, p. 4429, 1924-06-03. Retrieved on 2007-11-29.
9. ^ The Very Greatest Building that was never Built (sourced from Findarticles.com)
10. ^ Transcript of audio download of 'Lutyen's Cathedral' talk by Paul O'Keeffe
11. ^ London Gazette: (Supplement) no. 33566, p. 5, 1930-01-01. Retrieved on 2007-11-29.
12. ^ Wallace family genealogy shows descendants of Euan Wallace by both wives].
13. ^ His death date is given here as 1971
14. ^ Lutyens Furniture Limited and Independent article (2003) on Candia Lutyens's home. Candia is married to architect Paul Peterson, and has two children.
15. ^ "Lutyens Furniture Ltd". http://www.lutyens-furniture.com/lfl.html. Retrieved 2009-08-12. 
16. ^ Elisabeth Lutyens's life with Edward Clark
17. ^ Elisabeth Lutyens (1906-1983): Family and professional life of Elisabeth Lutyens
18. ^ This gives Links' death date.

Publications

• Edwin Lutyens & Charles Bressey, The Highway Development Survey, Ministry of Transport, 1937
• Edwin Lutyens & Patrick Abercrombie, A Plan for the City & County of Kingston upon Hull, Brown (London & Hull), 1945.

Further reading

• Hopkins, Andrew & Stamp, Gavin (eds.) (2002) Lutyens Abroad: the Work of Sir Edwin Lutyens Outside the British Isles. London: British School at Rome (paperback, ISBN 0-904152-37-5)
• Petter, Hugh (1992) Lutyens in Italy: the Building of the British School at Rome. London: British School at Rome (paperback, ISBN 0-904152-21-9).
• Skelton, Tim & Gliddon, Gerald (2008) Lutyens and the Great War. London: Frances Lincoln (hardback, ISBN 978-0-7112-2878-8)

External links

Wikimedia Commons has media related to: Edwin Lutyens

• Edwin Lutyens at the archINFORM database
• Sir Edwin Lutyens (1869-1944)
• The Lutyens Trust
• Jane Ridley, "Architect for the metropolis", City Journal, Spring 1998
• The creations of Sir Edwin Lutyens @ Ward's Book of Days
• Nashdom - A Lutyens Masterpiece in South Buckinghamshire
• The cathedral that never was - exhibition of Lutyens' cathedral model at the Walker Art Gallery
• Memorial to Broughton, sometime MP, Runnymede - A twin kiosk and pier structure on either side of the road

Honorary titles
Preceded by Sir William Llewellyn	President of the Royal Academy 1938–1944	Succeeded by Sir Alfred Munnings

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