By Edward Hubbard, Michael Shippobottom
The version business village of Port solar used to be based by means of the cleaning soap producer W. H. Lever (later Lord Leverhulme) in 1888 for the manufacturing unit employees of his company of Lever Brothers. The village was once acclaimed from the 1st as exemplifying the easiest in English city making plans and residence layout, and enormously prompted next business villages reminiscent of Bournville, and the backyard urban circulation extra ordinarily. This consultant considers the village in its old context, with specific emphasis at the making plans and architectural points. It explains the social and visible importance of Port solar and the explanations for its being distinctive within the historical past of city making plans, in addition to the way in which its improvement used to be encouraged by means of altering models in civic layout. The relevance of Lever's personal personality and pursuits - his social moral sense, his love of paintings and sweetness and his architectural enthusiasms - is additionally tested. excursions, one for pedestrians and one for vehicle drivers, which come with and describe the main major constructions of the village, are an extra characteristic of the guide.
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Additional info for A Guide to Port Sunlight Village
T. Raffles Davison, Port Sunlight, 1916, Pl. 19) Fig. 42 Former Girls’ Hostel (Maxwell & Tuke, 1896), later Heritage Centre and National Westminster Bank. Shown when used as Lever Library; earlytwentieth-century hanging sign suspended from timber post no longer exists and this record of it may be compared with 1988 replacement. (T. Raffles Davison, Port Sunlight, 1916, Pl. 17) Port Sunlight text rev 46 | 25/4/05 1:19 PM Page 46 A GUIDE TO PORT SUNLIGHT VILLAGE Fig. 43 Hulme Hall (W. & S. Owen, 1900–1901).
Deacon & Horsburgh; Garnett, Wright & Barnish; Huon A. Matear; Ormrod & Pomeroy; Pain & Blease; and T. Taliesin Rees. A competition for cottage designs was held c. 1905 but in 1910 Lomax-Simpson was appointed Company Architect, and was responsible for most subsequent building work. The era in which Port Sunlight was conceived was a golden age of English domestic architecture. The influence of William Morris and the Arts & Crafts movement, and the refinement and sensitivity of Late Victorian aestheticism took their place in the new relaxed and confident ‘domestic revival’.
The foundation stone is immediately to the right of the entrance steps. Urns acquired from the Rothschild house, Aston Clinton. Boundary railings and planting now surround the gallery. The block of cottages of 1906 by Reilly is just visible far right but the later cottages by Lomax-Simpson north-west of the gallery have clearly not yet been built.