| Summary : A one-and-a-half-storey, dormer bungalow detached house, constructed in 1924, with late-20th century extensions. The architect is unknown although the building has clear vernacular revival influences. The Hall is of timber-framed construction with rendered and painted panels, on a deep red brick plinth. There is a steeply pitched, grey slate roof that is gabled on the main range and hipped on the cross wings, with tapering, rendered stacks. The Hall has a simple H-shaped plan, with a one and-a-half-storey dormer range flanked by single-storey cross-wings. There is a central porch to the front (south-east) and to the rear, or garden elevation, is a two-storey octagonal bay, flanked by an open veranda. In the late-20th century the building was converted for use as a public house, and later extended to accommodate the squash club. With an extensive range of squash courts appended to the south-west wing. |
More information : Although there is no formal history for the building, Lascelles Hall is believed to have been
constructed in the mid-1920s as a holiday house. It has been claimed that this was for a branch of the prominent aristocratic Lascelles family. The Lascelleses were Earls of Harewood, based at Harewood House in Yorkshire, and in 1922 Viscount Lascelles married George V's daughter Mary, Princess Royal. Stylistic evidence suggests a 1920s date of origin, and a fireplace has 1924 carved on it. The building first appears on the 1933 Ordnance Survey map. In the late-20th century the building was converted for use as a public house, and later extended to accommodate the squash club. It formerly stood in a prominent location in extensive grounds at the head of a rocky outcrop. The landscape setting has since been encroached upon by modern development.
Lascelles Hall is a one-and-a-half-storey, dormer bungalow, constructed in 1924, with late-20th century extensions. The architect is unknown although the building has clear vernacular revival influences. The Hall is of timber-framed construction with rendered and painted panels, on a deep red brick plinth. There is a steeply pitched, grey slate roof that is gabled on the main range and hipped on the cross wings, with tapering, rendered stacks. The Hall has a simple H-shaped plan, with a one and-a-half-storey dormer range flanked by single-storey cross-wings. There is a central porch to the front (south-east) and to the rear, or garden elevation, is a two-storey octagonal bay, flanked by an open veranda. An extensive range of late-20th century squash courts has been appended to the south-west wing. The front elevation retains its original symmetrical appearance; the timber framing replicates plain close-studded work with simple arch-braces to the gable walls. The full height porch is timber framed and part-glazed, with square, leaded panes and a coat of arms above the door. To either side of the porch are six-light, timber mullioned windows with leaded panes. The main roof has three lateral chimneys and three arch-headed dormers, with timber casements, leaded panes and lead flashing. There are further single stacks to the lower wings. The garden elevation (north-west) is constructed upon a terrace above steeply rising ground; only the northern half of the original building is visible. The southern half of the building has been obscured by large-scale, late-20th century extensions. An open veranda links the north cross-wing to the octagonal bay. On the ground floor half of a former loggia with round arches survives. On the first floor the windows in the bay were replaced in the late-20th century and patio doors have been inserted.
In the interior the ground floor retains some of its detailing and a few interesting features, many with mock Tudor influences. The joinery is of good quality and includes timber panelling, hardwood floorboards, timber-framed partitions and panelled doors, with glazing set in four-centred arches. There are cornices and relief plasterwork depicting lions rampant, fleur-de-lys and Tudor rose motifs. There are decorative glass screens to the reception, and an inner door bearing geometric leaded lights and simple coloured margin glazing, as well as other stained-glass windows elsewhere. The public bars have arts and crafts fireplaces with decorative brick nogging and panelled over-mantels. The dining room has an inglenook fireplace, dated 1924, with timber panelling and a stone fire-surround. However, the room plan has been significantly re-arranged to meet the requirements of a public house. The former principal reception rooms have been remodelled into public bars and dining rooms with the insertion of a bar and reception area, as well as modern service rooms and facilities. Some of the original decorative details have been re-arranged and re-positioned in order to facilitate the creation of these public areas. The southern half of the building has been further altered including the insertion of public lavatories, a solarium, gym and pool room. The extensions to the west include changing rooms and squash courts.
The first floor was not inspected. It was modernised in the late-20th century and converted into accommodation for the landlord, including a living room, kitchen and en-suite bedrooms.
Factors that define special interest include importance in architectural design, decoration or craftsmanship, intact survival, historic interest and rarity. After 1840, because of the greatly increased number of buildings erected and the much larger numbers that have survived, progressively greater selection is necessary (Principles of Selection 2007). English Heritage Selection Guides (2007) provide further guidance regarding vernacular revival houses of the 20th century and confirm that a good quality example of this late date would normally demonstrate elements such as elegance of design, attention to detail, proportion, careful use of materials and decoration. Overall architectural interest, intactness and historic interest would determine the assessment.
Lascelles Hall was built in 1924 at a time when the Devon Riviera was becoming ever more popular as a place of retirement and holiday-making. Just where the Lascelles connection comes from is unclear: the arms do not appear to be those of the Lascelles family, and the likelihood of an aristocratic family commissioning such a house is open to question. It is certainly an unusually ambitious arts and crafts-inspired cottage design, on a much larger than average scale. It is quite traditional in its inspiration and can be compared with Lutyens' almost-contemporary work at nearby Cockington. Although the architect is unknown, the design is a careful one and very expressive of tendencies in fashionable domestic architecture in the 1920s.
Had it survived in a more intact manner, the case for listing would be much stronger. The later conversions and extensions have had a highly significant impact particularly upon the exterior of the building, engulfing its southern half, destroying the symmetry of the original design and eroding the impact of the central octagonal bay that formed the centre piece of the garden elevation. In the later 20th cenury the building underwent conversion to commercial use as licensed premises, and further alteration happened when it became a squash club. Despite the retention of a number of features, the character of the building has been considerably altered. The southern half of the building, in particular, has retained little of its original character. Although the first floor was not inspected, its conversion to a flat in the late-20th century is believed to have further removed any evidence of the original lay-out.
Lascelles Hall does not compare well with other listed buildings of a similar nature, such as Undertown, St Minver, North Cornwall, 1928 (listed Grade II), an unaltered vernacular revival house that retains its complete interior joinery.
As an unusually large 1920s cottage which does survive in part, Lascelles Hall is correctly identified as a building of some local importance. It does not, however, survive sufficiently intact to merit designation at a national level. (1)
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