Senate House is the administrative centre of the University of London, situated in the heart of Bloomsbury, London, immediately to the north of the British Museum. The Art Deco building was constructed between 1932 and 1937 as the first phase of a large uncompleted scheme designed for the university by Charles Holden. It consists of 19 floors and is 210 feet (64 m) high. During the Second World War, the building's use by the Ministry of Information inspired two works of fiction by English writers. The earliest, Graham Greene's novel The Ministry of Fear (1943), inspired a 1944 film adaptation directed by Fritz Lang set in Bloomsbury. The description of the Ministry of Truth in George Orwell's novel Nineteen Eighty-Four (1949) evokes the Senate House. His wife Eileen worked in the building for the Censorship Department of the Ministry of Information. Today the main building houses the University of London's Central Academic Bodies and activities, including the offices of the vice-chancellor of the university, the entire collection of the Senate House Library, six of the eight research institutes of the School of Advanced Study, as well as departments of distance learning provider University of London Worldwide.
History After the First World War the University of London, then based at the Imperial Institute in Kensington, was in urgent need of new office and teaching space to allow for its growth and expansion. In 1921, the government bought 11 acres (4.5 ha) of land in Bloomsbury from the Duke of Bedford to provide a new site for the university. However, many within the university were opposed to a move, and, in 1926, the Duke bought back the land. However, the election of William Beveridge to the post of vice-chancellor of the university in June 1926 was highly significant as Beveridge supported a move to Bloomsbury. Beveridge persuaded the Rockefeller Foundation to donate £400,000 to the university and the original site was reacquired in 1927.
Beveridge saw the university as one "for the nation and the world, drawing from overseas as many students as Oxford and Cambridge and all the other English universities together." and specified that "the central symbol of the University on the Bloomsbury site can not fittingly look like an imitation of any other university, it must not be a replica from the Middle Ages. It should be something that could not have been built by any earlier generation than this, and can only be at home in London ... (the building) means a chance to enrich London – to give London at its heart not just more streets and shops ... but a great architectural feature ... an academic island in swirling tides of traffic, a world of learning in a world of affairs." The grand Art Deco design was the work of Charles Holden, who was appointed as architect in March 1931 from a short list which also included Giles Gilbert Scott, Percy Scott Worthington, and Arnold Dunbar Smith. In making their choice, Beveridge and the Principal, Edwin Deller, were influenced by the success of Holden's recently completed 55 Broadway, designed as the headquarters for the London Electric Railway and then the tallest office building in London. Holden's original plan for the university building was for a single structure covering the whole site, stretching almost 1,200 feet (370 m) from Montague Place to Torrington Street. It comprised a central spine linked by a series of wings to the perimeter façade and enclosing a series of courtyards. The scheme was to be topped by two towers; the taller Senate House and a smaller one to the north. The design featured elevations of load-bearing brick work faced with Portland stone. Construction began in 1932 and was undertaken by Holland, Hannen & Cubitts.
King George V laid the ceremonial foundation stone on 26 June 1933 and the first staff moved in during 1936, the university's centenary year. On 27 November 1936, a group of university officials, led by the Principal, Sir Edwin Deller, went out to inspect the work in progress. Suddenly, without warning, a skip being pushed by a workman overhead accidentally fell down and hit them. All were rushed to University College Hospital, where three days later, Deller died of his injuries. Due to a lack of funds, the full design was gradually cut back, and only the Senate House and Library were completed in 1937, although the external flanking wings of the north-eastern courtyard were not constructed. As he had with his earlier buildings, Holden also prepared the designs for the individual elements of the interior design. The completion of the buildings for the Institute of Education and the School of Oriental Studies followed, but the onset of the Second World War prevented any further progress on the full scheme.
Critical opinion
The architectural character and scale of the building has received both positive and negative criticism since its construction. Steen Eiler Rasmussen, a friend of Holden, commented that, with the expansive design, "the London University is swallowing more and more of the old houses, and this quarter – which the Duke of Bedford laid out for good domestic houses – has taken on quite a different character." Evelyn Waugh, in Put Out More Flags (1942), describes it as "the vast bulk of London University insulting the autumnal sky." Positive comments came from functionalist architect Erich Mendelsohn in 1938, who wrote to Holden that he was "very much taken and am convinced that there is no finer building in London." Architectural historian Arnold Whittick described the building as a "static massive pyramid ... obviously designed to last for a thousand years", but thought "the interior is more pleasing than the exterior. There is essentially the atmosphere of dignity, serenity and repose that one associates with the architecture of ancient Greece." Nikolaus Pevsner was less enthusiastic. He described its style as "strangely semi-traditional, undecided modernism" and summarised the result: "The design certainly does not possess the vigour and directness of Charles Holden's smaller Underground stations." Others have described it as Stalinist or as totalitarian due to its great scale. Holden recognised that his architectural style placed him in "rather a curious position, not quite in the fashion and not quite out of it; not enough of a traditionalist to please the traditionalists and not enough of a modernist to please the modernists."
Present day
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