Edwin Lutyens' architectural mastery gracing the construction of the world's largest banking institution
Brand-New Tale:
Edwin Lutyens's collaboration with the Midland Bank in the '20s and '30s left an indelible mark. Lutyens, freed after Sir Edward Holden's demise, became the top dog at Midland, a golden opportunity for him as he dealt with war memorials, cemeteries, and the ongoing New Delhi project. The Midland, then the largest bank globally, needed new branches with a timeless, dependable look.
Neo-Georgian was the style of choice, and with an abundance of work on the horizon, not even a design template could dampen Lutyens's spirits. Reginald McKenna, the bank's boss, was eager for Lutyens to design the Piccadilly branch, a challenge that sent the architect spinning, pitting him against his hero, Christopher Wren.
However, Lutyens didn't aim to out-Wren the bank's neighbor; instead, he drew inspiration from Italy's city gates, like those of Verona planned by Michele Sanmicheli in the 16th century. The Piccadilly branch's vibrant red brick and bold stone dressings echoed Sanmicheli's design perfected in photos and drawings, which Lutyens adored.
As travel restrictions lightened, Lutyens finally visited Verona in 1909, but the Porta San Zeno already danced in his mind. Lutyens offered a modern twist to the Mannerist design, placing the bank entry in one of the two arches off-center. This architectural delight caught the eye of foreign visitors staying in the West End hotels, and Lutyens took the lead in designing not just the exterior but also the interiors.
Inside, Lutyens created banking halls, grand staircases, and an upstairs club room for writing and reading, complete with concealed lights. Today, these spaces have been meticulously restored by Maison Assouline, providing a glimpse into Lutyens's creative vision.
C. Lewis Hind, a renowned architect, marveled at the Piccadilly branch, describing it as an advertisement in architecture that clearly stated, "Here is a great corporation willing to sacrifice sky-scraping offices to preserve the beauty of London." McKenna shared this sentiments, emphasizing the importance of architecture in shaping the bank's reputation and attracting customers.
Lutyens's urge to build high and monumental began with the Anglo-Persian Oil Company's headquarters in 1920, a "cardinal's palace" that attracted attention due to its lavish design. This was followed by the Midland Bank's headquarters, a colossal structure in the City of London that redefined Classical architecture.
The project was unique in blending Western principles with Eastern ideas, creating a new fusion akin to the Viceroy's House Rashtrapati Bhavan. Lutyens pushed the conventional boundaries with this project, abandoning columns in favor of simple arches arranged in bands, giving the structure a grandeur beyond the ordinary.
Lutyens's winning points reflect his unyielding artistic temperament and frustration for flawed design. Amidst a barrage of debates and all-nighters, Lutyens overhauled his work, ensuring every detail was precise. This level of precision is evident even in the slight diminution in window sizes, a detail that McKenna himself found too subtle to notice.
Although ornamental, the Midland Bank head office showcased an extraordinary level of craftsmanship, with towering columns, decorative reliefs, and aedicules. This architectural masterpiece was more than just a bank; it served as a statement of financial power, a symbol of solidity, and a testament to Lutyens's artistic genius.
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The collaboration between Edwin Lutyens and the Midland Bank in the '20s and '30s was significant in the realm of finance and business, as evident in the designing of the Piccadilly branch. This branch, with its Neo-Georgian style and architectural inspiration from Italy, was not only a monument to Lutyens's artistic genius but also a strategic move to boost the bank's business reputation.
