Porthmeor Studios through the eyes of the architect
Project commissioned by The Bolarse Smart Trust, The Porthmeor Studios and in collaboration with St Ives School of Paintings and the Archives Center.
MJ Long used the example of the Porthmeor Studios to explain how something new is introduced to a historic façade. Then asked how do you put a new building into this context and pointed how once the Mariners Church was once a new building in complete contrast to its surroundings and is still startling in context. MJ pointed that the Tate gallery as a new building occurs at a juncture in the town between different textures and at a junction this introduction works. Porthmeor Studios are an ad hoc accretion, not to be preserved as an icon ‘it is the continuity of the activity there that needs to be preserved’.
In Porthmeor Studios through the eyes of the architect, MJ explained her view that modern architecture is not without references but authentically fulfils the needs of the user and the materials available so a modern building references and echoes history and if this is done authentically in regard to use and materials it remains modern. Flattening differences weakens the drama and modern architecture should maintain these differences.
In 2010, The Borlase Smart John Wells Trust headed a £4 million renovation, supported with public funding by Arts Council England, to renovate and refurbish the building. Exposure to the wild Atlantic weather and shifting sands for over 200 years, had made the studios fragile and in desperate need of repair.
Overlooked by award-winning architects Long & Kentish, the sensitive renovations of the Grade II listed building have ensured that the features of its important heritage are not lost, while providing a facelift which enables the unique complex to move into the future as a successful and functioning workplace for both the artists and the fishermen.
Today, more studio space has been provided by the division of the old studios; floor length windows look out over the plane of sand to the rolling waves; and refurbished skylights bask the studios in natural light. A new lift has improved access, corridors have been revamped with panels of Cornish pine and an exhibition space for the public has been created.
The culture and tradition of St Ives is characterised by the Porthmeor Studio complex which has continued the relationship between the town, the artists and the fishermen, and ensured that it carries on into the future years.
On the edge of Porthmeor Beach, this atmospheric, Grade II listed building, has been an inspiring workspace for artists for over a century. Today, the School of Painting operates out of two of the studios while the Tate Gallery has historically run a residency programme in Studio 5. The remaining studios are rented out to local and national artists. Meanwhile, twelve boats continue to work out of the fishermen’s cellars lying beneath the studios.
To trace the start of what is now the oldest studio complex in the country, we travel back to 1801 when spreading sands threatened to submerge St Ives and a wall was built to protect the town. In 1814, fishermen used the wall running along Porthmeor beach as a foundation to erect their cellars, salt houses and net lofts.
Their construction was a fascinating fusion of masonry; including the earliest use of mass concrete in Britain, recycled ship timber and recycled pipes from old mine shafts. For the next 100 years, St Ives was the centre of the pilchard industry with the Porthmeor cellars and lofts used by the fishermen to sort their catches and store their boats and nets.
In the 1880s, artists began arriving, attracted by the extraordinary quality of light and the beauty of St Ives. Working alongside the fisherman, they used the north-facing lofts as studios and started to build new studios on top of the fishermen’s cellars.
Over the following years, the Porthmeor Studios became an inspiring workplace and exhibition space for internationally acclaimed artists, including some of the big names of 20th Century British painting, such as: Julius Olsson, Ben Nicholson, Francis Bacon, Patrick Heron and Wilhelmina Barns-Graham. Today their paint marks still decorate the studio walls where important pieces of work were created.
In 1948, after the death of their owner, painter Moffat Lindner, the Porthmeor studios and fishermen’s cellars were put up for sale. After much fundraising and supported by an interest free loan from the Arts Council, the studios were secured in the name of The Borlase Smart Memorial Trust, Smart having died the previous year.