house for essex

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30/03/2016 16:53EXCLUSIVE: Grayson Perry and architects FAT design 'A House for Essex' | Design | Lifestyle | London Evening Standard

Page 1 of 7http://www.standard.co.uk/lifestyle/design/grayson-perry-and-architects-fat-design-a-house-for-essex-10252424.html

House of fun: Charles Holland of FAT and Grayson Perry (Picture: Katie Hyams)

Lifestyle › Design

ROBERT BEVAN | Friday 15 May 2015| 0comments

EXCLUSIVE: Grayson Perry and architects FAT design 'A Housefor Essex'

Artist Grayson Perry and architecture practice FAT have designed a kitsch haven in the heart of Essex that’s open to paying guests.Robert Bevan has an exclusive first look around their technicolour Ta j Mahal

189shares

Something from the Steppes has been washed up on the

brackish edge of north Essex. An architectural folly, a

belvedere or wayside chapel. It could almost sprout chicken

legs like Baba Yaga’s hut in the Russian fairy tale and trot off

down through the meadows to paddle in the nearby Stour

News Football Going Out Lifestyle Showbiz Homes & Property189shares

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estuary.

It won’t though because it is a weighty piece of architecture, clad in

more than 2,000 ceramic tiles and steadied by the weight of its

fantastical roof. This House for Essex is the result of a collaboration

between artist Grayson Perry and architecture practice FAT.

Ostensibly the house is a holiday home in the village of Wrabness

on the River Stour to be rented out by pop philosopher Alain deBotton’s Living Architecture organisation, a not-for-profit that has

built several houses by notable architects that you can stay in to

absorb the power of contemporary design.

But the dreamlike house is also a secular shrine to Julie Cope, who

died in 2014. Julie is an Essex everywoman, “a shopping mall

Madonna... with a kick-ass spirit” who also happens to be the

creation of Essex-born Perry. Her fictional life and untimely death

(at the motorbike wheel of an errant curry delivery driver) is

recorded in his narrative poem, The Ballad of Julie Cope, which

every guest at the holiday house receives a copy of along with a

pamphlet guide to the architecture of the house and the artworks

commemorating Julie that fill it. The ballot for paying guests

wanting to stay here opens today.

The poem is the bittersweet tale of a working-class girl born on

Canvey Island during the killer floods of 1953 and her scramble

towards contentment via motherhood, a first failed marriage and a

late university education. The House for Essex is on the site of the

fictional Julie’s last home where her grieving second husband Rob

decided to build a “Taj Mahal upon the Stour” to her memory.

Grayson Perry and FAT's A House for Essex - inpictures

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Julie’s lifeline, the A120 and the 82-mile Essex Way long-distance

footpath from Epping all converge near the house. The easiest way

for Londoners to make pilgrimage, however, is via the mainline

from Liverpool Street to Manningtree then changing to the

Harwich branchline where lethargic, ear-budded, sunshine-addled

teenagers put their feet up on the green velour, ignoring the viewsto the estuary and the Suff olk shore beyond.

Get off at tiny Wrabness station and the intense scent of flowers

tumbles down an embankment while in the distance a lawnmower

throbs. It is a short walk via lane, gravelled track and then path to

the house’s front door — a journey towards the far end of Essex and

the last of England, Betjeman’s “level wastes of sucking mud” and

distant barges “sailing in upon the flood”.

Charles Holland of FAT Architecture describes the house as a “built

story” but Grayson Perry’s tale of Julie emerged in parallel to the

evolution of the house designs. As it turned out, de Bottonapproached FAT to collaborate with Perry almost as the

architecture practice was winding up, (Fat’s clever playful output

was never corporate enough to be successful in balance-sheet

Britain) so for Holland, himself from Essex, the project has been

FAT’s swansong, a last chance for the practice to explore notions of

Britishness, decoration and architectural history. Perry, had

already been sketching and populating imaginary houses with his

daughter decades ago.

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The result of the collaboration is a matryoshka doll of a building

that concertinas in on itself, a series of pleated rooms. The scale is

ambiguous too — both jewel box and Eastern Orthodox chapel with

a domestic entrance uphill and a larger, ceremonial portal at the

downhill end.

Early ideas of turrets and Fabergé eggs have coalesced with the

wooden stave churches of Norway and inspirational visits to places

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such as the seventh-century pilgrimage chapel of St Peter-on-the-

Wall at nearby Bradwell-on-Sea.

After early thoughts of using pargetting (Essex’s traditional

elaborate external plasterwork) a ceramic facade was hit upon

which is the perfect fit for Perry as a potter. The tiles were crafted

by Shaws of Darwen, a firm that has been making not just ceramic

sinks but a century worth of architectural faience, terracotta and

glazed bricks. The House is clad then in a pattern of deep olive green and white tiles that depict totems of Julie’s life: a nappy pin, a

mixtape, a heart, a wheel, a letter J, the Essex county badge and the

pregnant Julie herself depicted as Near East fertility symbol.

The copper alloy roof shines brassily over bulging eyebrow

dormers and is pinnacled with an oversize statute of the pregnant

Julie, a ceramic egg, a lantern and a wheel and longboat motif.

Inside is equally joyful, finished in five shades of red and egg yolk

yellow. Step inside the red front door and a narrow panelled lobby

leads forward into a loosely fitted kitchen. The wall ahead is green

tiled like a decorative Viennese stove with a fireplace and a pair of doors hidden in its pattern.

Visually stunning: A House for Essex interior at night (Picture: Jack Hobhouse)

The doors lead on to the triple-height sitting room/chapel space.

Here, on either side are massive tapestries depicting events in

Julie’s life, above your head the delivery motorbike that killed her isturned into a chandelier. By sheer coincide the number-plate (PAM

13G) of the bike bought for the project incorporates the name of

the secret mistress of Julie’s first husband. In a corner of a tapestry

is Pam’s tell-tale hairbrush that Julie found in Dave’s Cortina.

Turn around and you are confronted with a full height screen that

Holland describes as a mix of cuckoo clock and a rood screen — the

decorative divide between the nave and a choir in a church. It

incorporates a pair of balconies reached from each of the two

bedrooms tucked under the roof, although you have to pass

through the mirrored back of the built-in wardrobes to find these

perches. A bathtub big enough for a full-immersion baptism ishidden above the entrance hall commanding views down the

garden path.


5/7



The House for Essex is an extraordinary and fecund vision that has

been made meticulously real. It is serious rather than silly in its

playfulness and the architecture is sophisticated. It quotes directly

from history — the convex mirrors from the Breakfast Room at Sir

John Soane’s Museum, the staircase hall at Vanbrugh’s Audley End.

There is a place for the chevron boarding beloved of the Arts and

Crafts period and the colours derived from Austrian architect Adolf

Loos or the bargee’s folk palette.

Perry’s Ballad is moving in its observations on class and feminism,

the house and poem an ornament to his own childhood described

in his poignant 2006 autobiography Portrait of the Artist of A

Young Girl. To Julie, her mother was “a lacquered goddess tossing

thunderbolts on their small pastel world”; to husband Rob Julie

herself is “my all-knowing pagan goddess”. Perhaps not so much a

secular a building after all.

Architecture has borrowed the German word Gesamtkunstwerk to

mean a total work of art, a place designed entirely by an architect

from its roof beams to its doorknobs, but Fat and Perry have gone

beyond this to fuse art and architecture entirely. Sit on Julie’s raised

gravestone in the garden and admire the view of a magical shrine

in the landscape.

Grayson Perry’s Dream House, is on Channel 4 on Sunday, 9pm

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