Archive for June, 2010

Jun
0

Leybourne Grange – Musing on Urbex

So Fridays – the day of the week that during term time is taken up with study and class and time spent in dark rooms with my hand immersed in chemicals. But now term is over and there are many long Fridays that lay ahead. A few of them are already behind and have been spend doing some constructive things (like sleeping) and slightly less constructive things (they’re too rude to type). But today I got up and felt that I had to achieve something greater. I don’t usually explore on my own but Leybourne Grange by all accounts was a low key place and doable on a day on ones own.

A foot path leads you to the site and after looking left, the right, then left again, I was over the fence and into the woods. The impressive thing about the grange it its scale, not in style or interest but the site’s vast size. It is a series of villas connected by a long looping drive all around the site. It is situated so close to the motorway that I am surprised that you cannot hear the traffic roaring past. There is only silence broken by birds in these woods… Or so I thought.

I made my way through a few of the outter buildings, taking my time yet aware of the fact that I was on my own, more or less in the middle of nowhere, and then breaking the silence was a crack. A gun shot? I couldn’t place the sound. I ignored it and went back to poking my nose into dark rooms. There it was again… I had finished in the building I was in and took a wonder in the direction I believed the manor house to be in. It should be noted that there is a girls school on site, on the other side of the site even, but when parents collect their children the drive out takes them right past the manor house. I crept round the outter drive to the long avenued pathway, lined with tall pine trees that I know would lead me up to the manor. I kept behind a line of trees but about half way up one has to dart across the path to keep the cover. As I did, I looked up and there was a person in hi-vis with a white hard hat and others walking around the site.I had been told that the building had been covered in scaff and yet I saw none – maybe this explained the cracks… Maybe not.

As I drew closer, still in cover, I could see that the manor was a hive of activity and the cars full of children had started to drive past. Damn. This would not be happening today. I packed up as quietly as I could and made my way back to where I had come in, leapt the fence and went back to the car. I had wanted to see the manor but there would be other, quieter days. As I walked I thought more on something that had occurred to me as I had crept along the tree lined avenue. It had reminded me of the stately homes my parents had dragged me to as a child on our holidays to Kent. Overgrown yes, but still holding something of its former grandness.

The manor house is a grand place and the grounds are vast and then it occurred to me, if history had been a little different, if this had remained the grand house full of treasure and not a hospital for those that society considered unsightly, then it may well have become somewhere that the National Trust might have taken on. What do organizations like the NT and English Heritage do but take the things we love, history, preservation, dusty objects, and the love of being able to have a nose in whats left of how others have lived, and present it to the masses? What makes urbex different? When asked we take the moral high ground on our activities, we go to document, experience and aid in preservation through our photos and yet most shudder at the idea of going to a stately home. Are they not the same?

What’s the difference? There are two main ones that I can see. One is that visitng museums, stately homes, castles is  socially acceptable, and whether we like to admit it or not, we like to separate ourselves from that mainstream of society through our activities, to be given odd looks and know that other people don’t quite know what to think of us or where to place us. We can get permission to walk round the stately homes, you pay a fee and walk freely. There is no rush. So we are adrenaline junkies, hooked on a ‘sport’ just like every climber, caver or other person that dares to think beyond the end of their road. Many explorers shun organizations like Sub Brit who cross those interesting lines of taking people places that few people would ever think to go to or know exist and yet they do so with permission… Why? Because we feel it’s conformist, stifled and again removes the thrill of making your way into a site where you know you might get caught.

The other difference is urbex is dirty. We like the filth, the mud, dust and cobwebs that slowly cover the sites we see. A museum, whilst it’s aims in part may be similar to our own and we use them to justify what we do, is a clean, near sterile place that separates us from our past and objects from history. We like to touch, to feel and experience the tactile like a child with its fingers covered in paint. There is something child like in coming home covered in dirt and scratches, knowing you have been somewhere naughty and got away with it.

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Jun
1

The Potters

An empty house tucked away in the forest promised a good day out. It is commonly known as Potters Mansion and relativly little seems to be known about the people that once lived in such a grand setting in the Sussex Countryside.

My dear Rikke has done a bit of a search and come up with the following:

“The history
Potters Manor House was built in 1904 by the classical architect Hugh Jokin. It nestles well hidden near the village of Nevertell just off the A40999 in Hampnex. The last inhabitants were a family of artisans and potters and for some reason, that we will probably never know, left the house with all its contents including many paintings and full wardrobes of clothes.
http://www.amazon.co.uk/Book-Orchid-…/dp/0903554003

Possibly more history
I’ve done a bit of googling, and think I might have found out more about the people living in this magnificent house. Spread around the house are sketches, layouts and even early prints of the book “A book of Orchid Paintings” by James F. Walford. That name seems to be appearing several places, so I googled him and wow, looks like he actually had his book printed:

Furthermore I found some family history. James Francis Walford y de Borbón was born in 1913 at Paris, France. He is the son of Leopold Walford and Cristina de Borbón y de Muguiro, Duquesa de Marchena. He married Muriel Whitley (born 1906) in 1957 at London, England. I think this might be the right James F. Walford, as there are loads of French books spread around the house – matching the fact he is born in Paris and of a French family.”

A mere 90 minutes from the front door, but suprisingly hard to pin point. I overshot the first attempt to find it by about two miles, but a short trip up the road, skirt the edge of one field and we stood there infront of the house.

It at first doesn’t look that big but once you clamber over the pile of rubble and are through the front door the size of the place hits you. It is a warren of old, overgrown rooms, filled with paintings with eyes that follow you through the house.

Pieces of pottery and china lay scattered along side empty drinks bottles. Holes have started to appear in the floor and the damp and mould is well set in. A great many books lay in piles around the house and hint at the lives of the former residents. I can find hundreds of art post cards but not a single photogragph. Are these portraits of the people that used to live here that lay around the room? The lay in odd places and their eyes follow you as you walk around, unable to do anything to prevent the decay, you feel as if they should scream and tear themselves from the canvas in an attempt to save their home and see us off.

A broken record player stands crooked in the sitting room, a leg is broken, the arm extends, feeling for the music that isn’t there – equally banished to a silent existence. Exploration is about the silence, the quietness that is only broken by footsteps. We arrive and leave in silence and this is maintained through our stay less we are caught and here even in such deep countryside, we are cautious about breaking the peace that has fallen over the house.

In a bedroom we find objects that hint at the woman who may have left here, loosing her hair, clining to the past and now unable to see her favourite artworks in person, has nothing but the post cards that hint of neither texture or brushstroke. Her house would have started to crumble around her. The luxurey in which she and her family had once lived had turned to ruin and imprisoned her.

We photograph the remains of lives and of times that are more than forgotten. Not all exploration is a look at epic buildings. The Potters Mansion is an intimate look at scraps. It is more detailed and colourful than a great turbine hall and tells a more personal story. It is more voyeristic. The owners are long since dead and we now rifle through their home.

I photographed, always aware that this was a very personal trespass and yet I could not stop myself. The grey clouds rolled in across the blue sky and darkness drew in. It was time to leave.

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