Herbert Baker


Architect, England and South Africa
Herbert Baker’s prolific practice produced a wide variety of work in England and
abroad. His work ranged from country houses to ecclesiastical work and public buildings
and most notably includes the government Houses in both South Africa and India.
Indeed, Baker is credited with the creation of a South African architecture by giving
expression to the dreams of his great patron, Cecil Rhodes, who wished to create a
distinguished and permanent culture.
As a contemporary of Edwin Lutyens, Baker’s particular distinction lay in his ability
to range from Arts and Crafts in his domestic work, to a dignified monumental style,
sensitively modified to accommodate technology, and different national and climatic
conditions.
Baker was born in Kent, and attended the Royal Academy School, London, from 1879
until 1881, when he was apprenticed to his cousin, Arthur Baker. Between 1882 and
1887, he served as lead assistant in the office of celebrated domestic architects, George
and Peto, where he claimed to have gained invaluable experience. Emphasis was placed
on the importance of working drawings, sketching tours, and above all, respect for high
levels of craftsmanship. It was there that he met Lutyens, who was an apprentice with the
firm from 1887.
In 1892 Baker began his own practice in Cape Town, South Africa, where he met
Rhodes, who commissioned the restoration of his home, Groote Schuur. It was originally
completed in 1895 but destroyed by fire and rebuilt by Baker. The final design was an
adaptation of the old Cape Dutch style and alerted South Africans to the supremacy of
their 17th- and 18th-century buildings over recent 19th-century work. The interiors are
indebted to George and Peto, in Baker’s elaborate amalgamation of English Tudor and
Cape Dutch and in his employment of a consistent group of craftsmen.
Baker was appointed diocesan architect for Cape Town, and was responsible for
building many churches, including St. George’s Cathedral (1898, Cape Town), all of
which were characterized by a round-arched style that combined rough-hewn stone and
white plaster. A flow of both domestic and commercial buildings followed.
Baker designed many houses in Johannesburg built in response to the short-lived
mining boom. His style provided a synthesis of indigenous sources, including
Mediterranean vernacular, and English Arts and Crafts, which were emulated in
numerous suburbs.
In 1900 Baker retraced Rhodes’s steps while on a tour of Egypt, Greece, and Italy.
Rhodes’s tour had inspired him to a series of classical architectural dreams that sadly
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were to materialize only in his memorial, which was built by Baker at Mowbray, Cape
Town. Baker also designed memorials to the Shangani tribe for the Matabele War of
1897 and a monument, the Honored Dead (1905), at Kimberley, Cape Province, that was inspired by
Rome and Agrigentum. Following Rhodes’s death in 1902, Lord Milner assumed
responsibility for reconstruction in the Transvaal and Orange River Colony after the Boer
War.
Baker and his partner, Francis E.Masey, produced government buildings, churches,
houses, and agricultural and mining settlements. Pretoria Cathedral was begun in 1905,
but was only partially completed. Government House (1907, Pretoria) and Pretoria
Railway Station (1909) heralded the Union Buildings style. The work was commissioned
by General Botha, South Africa’s first prime minister, and came as a result of the
legislature remaining in Cape Town; the Pretoria Union Buildings (1912) represent
Baker’s most important work in South Africa, and lend expression to his belief that a
nation should demonstrate pride by the creation of noble monuments. In this work,
traditional European Neoclassical forms were combined with a serious concern to adapt
to local materials and technology. Twin cupola towers, evoking Wren’s Greenwich
Hospital, were linked by a concave hemicycle to prevent them from dominating the low
ground that they crowned.
Lutyens recommended that Baker share with him in the building of the
new government buildings in New Delhi. Unfortunately a disagreement
over the leveling of the central King’s Way leading to Lutyen’s Viceregal
Lodge led to a long estrangement. Whereas Baker’s designs were
sympathetic to the Mogul tradition, those by Lutyens were rather more
dispassionate and individual. In 1913 Baker returned to England and, with
his subsequent partner, Francis Fleming, designed the twin-domed
Secretariat Building and the circular Legislature Building.
In 1917 the War Graves Commission invited Baker to make recommendations about
cemeteries and monuments that were designed to give expression to inarticulated grief.
Compared with Lutyens, who strove for abstract monumentality, Baker favored a more
literal symbolism, reveling in the intricacies of heraldry and literary quotation. His
designs included the Indian Memorial at Neuve Chapelle and the South African
Memorial at Deville Wood. He produced a formidable number of buildings in England
following World War I, culminating in South Africa House (1935) in London.
Following a distinguished career, Baker was knighted in 1926.


Biography
Born in Cobham, Kent, England, 9 June 1862. Studied at the Royal Academy School of
Architecture, London 1879–81; apprenticed to cousin Arthur Baker, architect 1879–82.
Married Florence Edmeades 1904:4 children. Worked for Ernest George and Harold
Peto, London 1882–87. Opened office in Gravesend, Kent 1890; moved to Cape Town,
South Africa and was appointed architect to Cecil Rhodes 1892; opened office in
Johannesburg, South Africa 1902; formed partnership first with Willmott Sloper, then
Francis Flemming; returned to London in 1913 and continued practice until 1946; worked
with Edwin Lutyens in New Delhi, India 1913–31; principal architect to Imperial War
Graves Commission 1918–28; architect to the Bank of England from 1921. Fellow, Royal
Institute of British Architects 1900; founder and member, South African Society of
Architects 1901; associate, Royal Academy 1922; member, Royal Academy 1932.
Knighted 1926; Gold Medal, Royal Institute of British Architects 1927. Died in Cobham,
Kent, England, 4 February 1946.

Selected Works
Groote Schuur (Cecil Rhodes House), Rondesbosch, South Africa, 1895; rebuilt after
fire, 1897
St. George’s Cathedral, Cape Town, 1898
Kimberley Siege Memorial, Cape Province, 1905
Pretoria Cathedral (incomplete), Pretoria, 1905
Government House, Pretoria, 1907
Cecil Rhodes Memorial, Mowbray, 1908
Railway Station, Pretoria, 1909
Union Buildings, Pretoria, 1912
Numerous war cemeteries and memorials, Belgium, France, England, 1918–28
India House, Aldwych, London, 1925
Secretariat Building, New Delhi, 1927
Legislative Assembly Building, New Delhi, 1928
South Africa House, Trafalgar Square, London, 1935

BAIYOKE TOWER


Designed by Plan Architects; completed 1987 Bangkok, Thailand
Distinctive for its horizontal strips of rainbow color and a gableshaped roof, the first
Baiyoke tower in Bangkok, Thailand, was famously known as the one-time tallest
reinforced-concrete building in Asia. This skyscraper signified the start of Thai high-rise
architectural development. Land Development, a real estate company dominated by the
Baiyoke family, the project developer and landowner, proposed this 42-story building to
serve as both a commercial and a residential complex. The company turned the site on
Rachaprarob Road, which once had been occupied by a large-scale theater, into a
garment and cloth market and a residential tower for the Pratunam district. Not only did
the garment and cloth business inside the building fit in well with the neighborhood’s
business in general, but it also eventually became one of the most significant wholesale
cloth markets in Bangkok for years to come.
Although the Baiyoke tower established the Baiyoke family among Bangkok’s
business society, the tower itself promoted its design firm, Plan Architect, for their use of
bright color and the composition of geometric forms. The design team represented a
collaboration between Plan Architect and Inter Arkitek. Sinn Phonghanyudh, Plan
Architect’s executive architect, was in charge of the design team, which included
Theeraphon Niyom (firm owner), Krongsak Chulamorkodt (partner), Boonrit
Kordilokrat, Chenkit Napawan, Sapark Aksharanugraha, and Songsak Visudharom. Their
design won the 1984 competition sponsored by the Baiyoke family. The winning design
proposed the most functional exploitation of the limited site as well as the remarkable
concept of building the tallest building in the region.
On its completion in 1987, the building contained 55,000 square meters, including two
main parts: podium and tower. The large-scale column-and-beam reinforced-concrete
podium covered almost the entire site. Each floor was marked by different color, forming
a vertical rainbow in downtown Bangkok. The ground, first, and second floors were
devoted to the garment and cloth market. The third floor was originally designed as
offices for rent but later was turned, in part, into cloth shops to serve the growing market.
The fourth floor held a gigantic food center and several minitheaters. The next five floors
served as a parking garage for over 500 cars, an estimation approximated to
accommodate the high density of car drivers in Bangkok during the 1980s. Architects
designed the roof at the top of the podium as a recreation center, including a swimming
pool and health center, serving residents of the tower above. The residential floors were
eventually converted to a hotel complex. Its structure, supported by the shared structure
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of the podium, was erected with flat-slab layers of a cross shape. Each residential floor
combined eight units, each with a single shared wall. Four elevators at the tower core ran
from the ground floor to the top, separating the tower’s access from that of the podium.
Other facilities were likewise designed separately for serving the tower’s residents and
the users inside the podium area. Despite the shared structure of the podium and tower
parts, Baiyoke tower was designed as two very different buildings. In fact, this design
reflected a common trend of multifunction complex favored among Bangkok’s real estate
development during the late 20th century.
Shortly following the success of the project, the Baiyoke real estate developer decided
in 1988 to initiate a second project, Baiyoke II, with a similar publicized theme of
establishing another record for the world’s tallest reinforced-concrete building. This
follow-up project, however, was interrupted a few times during Thai financial turbulence
in the 1990s. The building was finally opened to the public in 1999, taking more than ten
years to complete. This long wait contrasted to the three-year construction period of its
fellow building, the first Baiyoke.
The Baiyoke II consisted of 172,000 square meters, more than three times the first
Baiyoke’s space. The project comprised 88 floors, 309 meters in total height above
ground (including the tower’s antenna but excluding the two underground floors). The
building functioned mainly as a hotel and included a shopping plaza and a parking
garage—an intrinsic element of contemporary Bangkok’s architecture. The ground floor
through the fourth floor served as retail shops, and the next ten floors consisted of
parking space. The hotel business occupied space from the 15th floor up, with the top ten
floors designed to serve as space for sky lounges, restaurants, and kitchen areas. The
main observation lounge for tourists and visitors was located on the 76th floor, whereas
access to the very top floors remained exclusive to hotel guests and the restaurants’
clients.
Unlike the first Baiyoke’s colorful theme, the Plan Architect design team
conceptualized the second Baiyoke building as a massive red block rising from the
ground, with a glittering gold roof that signified the golden roof of a Thai temple, an
omnipresent metaphoric symbol of Thai culture. In the design proposal of Plan
Architects, the design team once mentioned that the mass of colorful red sandstone
represented “the image of natural sandstone rising from the earth, punched out to provide
space for human’s various activities. The higher it goes, the more modernized and
sophisticated these various voids become.”
To be modernized or not remains an unfinished argument for which there is hardly an
answer, not only for both Baiyoke towers but also for contemporary Bangkok
architecture in general. The issues of “modern” and “modernity” have led many Thai
architects to confront problems in interpreting and defining designs to suit the terms.
Along with layers of interpretation and influences from foreign architectural
development, definitions vary and thus have brought up various designs. The Baiyoke
towers’ significant contribution to the city, with extension to the Southeast Asian region,
was essential in that they challenged the general geographic condition and virtually
turned Bangkok’s architectural development into a new phase of high-rise architectural
development.