The Legacy of John Vanbrugh: A Theatrical Architect
The architectural world is celebrating the 300th anniversary of John Vanbrugh's death, and the influence of this exuberant designer is as relevant as ever. Sir John Soane, a fellow architect, recognized Vanbrugh's genius, dubbing him the 'Shakespeare of architecture'. This comparison is not merely a poetic flourish but a testament to Vanbrugh's dramatic flair and his ability to captivate audiences through his designs.
What makes Vanbrugh's story particularly intriguing is his unconventional path to architecture. He began as a celebrated dramatist, penning risqué plays like 'The Provoked Wife'. His transition to architecture was serendipitous, starting with a theatrical venture at the Queen's Theatre Haymarket, where he designed the venue despite lacking formal training. This lack of conventional education might be why Vanbrugh is sometimes seen as a gentleman amateur, a dilettante, in contrast to his contemporary Nicholas Hawksmoor, who is revered for his cerebral approach.
The current exhibition at Sir John Soane's Museum, curated by Charles Saumarez Smith and Roz Barr, showcases Vanbrugh's influence on Soane's work. The exhibition features three horizontal watercolors depicting Blenheim Palace, a masterpiece of Vanbrugh's architectural drama. These paintings, used as illustrations in Soane's lectures, highlight the play of shape, form, and shadow, emphasizing the theatricality inherent in Vanbrugh's designs. It's as if his buildings were meant to be experienced like a Shakespearean play, with each element carefully crafted to evoke emotion and tell a story.
One of the most captivating aspects of the exhibition is the personal touch of Vanbrugh's sketches. A bird's-eye perspective of Castle Howard, drawn by Vanbrugh himself, reveals his inventive spirit. These sketches, discovered by Barr in a sketchbook acquired by the V&A, showcase Vanbrugh's relentless creativity. He doodled not only grand fantasies but also practical designs for his own family home in Greenwich, using it as a testing ground for his architectural ideas.
The exhibition also includes a short film by Jim Venturi, featuring his parents, renowned architects Robert Venturi and Denise Scott Brown. The film captures their visit to Blenheim Palace and provides a fascinating insight into their appreciation of Vanbrugh's wit and how it influenced their work. This connection across centuries highlights the enduring impact of Vanbrugh's theatrical approach.
In my opinion, Vanbrugh's legacy is a reminder that architecture is not just about functionality and aesthetics but also about storytelling and evoking emotion. His work challenges the notion that architecture must always be serious and cerebral. Vanbrugh's playful and experimental spirit invites us to reconsider the boundaries of architectural design, encouraging a more imaginative and expressive approach.
This exhibition is a must-see for anyone interested in the intersection of architecture and drama. It not only celebrates Vanbrugh's unique contribution but also prompts us to reflect on the power of architectural storytelling. Personally, I find it fascinating how Vanbrugh's theatrical background shaped his designs, creating a narrative quality that continues to captivate and inspire generations of architects and enthusiasts alike.
