Part Three: a Sense of the Sacred? Transcript
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Ed Carpenter, Artist [email protected] Commissions
ED CARPENT ER 1 Ed Carpenter, Artist [email protected] Revision 2/1/21 Born: Los Angeles, California. 1946 Education: University of California, Santa Barbara 1965-6, Berkeley 1968-71 Ed Carpenter is an artist specializing in large-scale public installations ranging from architectural sculpture to infrastructure design. Since 1973 he has completed scores of projects for public, corporate, and ecclesiastical clients. Working internationally from his studio in Portland, Oregon, USA, Carpenter collaborates with a variety of expert consultants, sub-contractors, and studio assistants. He personally oversees every step of each commission, and installs them himself with a crew of long-time helpers, except in the case of the largest objects, such as bridges. While an interest in light has been fundamental to virtually all of Carpenter’s work, he also embraces commissions that require new approaches and skills. This openness has led to increasing variety in his commissions and a wide range of sites and materials. Recent projects include interior and exterior sculptures, bridges, towers, and gateways. His use of glass in new configurations, programmed artificial lighting, and unusual tension structures have broken new ground in architectural art. He is known as an eager and open-minded collaborator as well as technical innovator. Carpenter is grandson of a painter/sculptor, and step-son of an architect, in whose office he worked summers as a teenager. He studied architectural glass art under artists in England and Germany during the early 1970’s. Information on his projects and a video about his methods can be found at: http://www.edcarpenter.net/ Commissions Bridge And Exterior Public Commissions 2019: Barbara Walker Pedestrian Bridge, Wildwood Trail, Portland, OR, 180’ x 12’ x 8’. -
British Art Studies November 2020 British Art Studies Issue 18, Published 30 November 2020
British Art Studies November 2020 British Art Studies Issue 18, published 30 November 2020 Cover image: Sonia E. Barrett, Table No. 6, 2013, wood and metal.. Digital image courtesy of Bruno Weiss. PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents The Lost Cause of British Constructionism: A Two-Act Tragedy, Sam Gathercole The Lost Cause of British Constructionism: A Two- Act Tragedy Sam Gathercole Abstract This essay reflects on the demise of British constructionism. Constructionism had emerged in the 1950s, developing a socially engaged art closely aligned with post-war architecture. Its moment was not to last however, and, as discourses changed in the 1960s and 1970s, constructionism was marginalised. -
New Sculpture at St Andrew Plymouth
VISION FOR THE PILLARS Commissioning New Art for Churches 2012 Competition Submission of The Minster Church of St Andrew, Plymouth Vision for the Pillars PREFACE - CATCHING THE VISION Do you wish to set out on the adventure of commissioning new art? (Commissioning New Art for Churches, page3) When we responded to the invitation to compete for the Jerusalem Prize we had little idea how exciting an adventure it was to be: from deciding what was going to be our project to completing this stage of the competition, we have discovered so much, met so many interesting people and engaged in processes completely new to us. It has been a roller coaster of a learning experience – and in no small part the Guide has done what its producers aimed to do; stimulated and encouraged us in “a process that has been both enjoyable and rewarding”. From simply considering a sculpture on two pillars at the entrance to a newly acquired space in front of the church, we have come to realise the significance of the space itself as an interface between our bustling City Centre and the church building. From rather modest expectations of a work in metal, in the light of our research on public art, both in our own City and further afield, we have raised our sights expecting that what we achieve will be an iconic work of art, in a material determined by the commissioned artist, to compare in importance with the John Piper windows, which enhance our church in its post-war restoration. We are confident that when we make known our brief, interest will not be limited to local artists. -
Masterworks Architecture at the Masterworks: Royal Academy of Arts Neil Bingham
Masterworks Architecture at the Masterworks: Royal Academy of Arts Neil Bingham Royal Academy of Arts 2 Contents President’s Foreword 000 Edward Middleton Barry ra (1869) 000 Sir Howard Robertson ra (1958) 000 Paul Koralek ra (1991) 000 Preface 000 George Edmund Street ra (1871) 000 Sir Basil Spence ra (1960) 000 Sir Colin St John Wilson ra (1991) 000 Acknowledgements 000 R. Norman Shaw ra (1877) 000 Donald McMorran ra (1962) 000 Sir James Stirling ra (1991) 000 John Loughborough Pearson ra (1880) 000 Marshall Sisson ra (1963) 000 Sir Michael Hopkins ra (1992) 000 Architecture at the Royal Academy of Arts 000 Alfred Waterhouse ra (1885) 000 Raymond Erith ra (1964) 000 Sir Richard MacCormac ra (1993) 000 Sir Thomas Graham Jackson Bt ra (1896) 000 William Holford ra, Baron Holford Sir Nicholas Grimshaw pra (1994) 000 The Architect Royal Academicians and George Aitchison ra (1898) 000 of Kemp Town (1968) 000 Michael Manser ra (1994) 000 Their Diploma Works 000 George Frederick Bodley ra (1902) 000 Sir Frederick Gibberd ra (1969) 000 Eva M. Jiricna ra (1997) 000 Sir William Chambers ra (1768, Foundation Sir Aston Webb ra (1903) 000 Sir Hugh Casson pra (1970) 000 Ian Ritchie ra (1998) 000 Member, artist’s presentation) 000 John Belcher ra (1909) 000 E. Maxwell Fry ra (1972) 000 Will Alsop ra (2000) 000 George Dance ra (1768, Foundation Member, Sir Richard Sheppard ra (1972) 000 Gordon Benson ra (2000) 000 no Diploma Work) 000 Sir Reginald Blomfield ra (1914) 000 H. T. Cadbury-Brown ra (1975) 000 Piers Gough ra (2001) 000 John Gwynn ra (1768, Foundation Member, Sir Ernest George ra (1917) 000 no Diploma Work) 000 Ernest Newton ra (1919) 000 Ernö Goldfinger ra (1975) 000 Sir Peter Cook ra (2003) 000 Thomas Sandby ra (1768, Foundation Member, Sir Edwin Lutyens pra (1920) 000 Sir Philip Powell ra (1977) 000 Zaha Hadid ra (2005) 000 bequest from great-grandson) 000 Sir Giles Gilbert Scott ra (1922) 000 Peter Chamberlin ra (1978) 000 Eric Parry ra (2006) 000 William Tyler ra (1768, Foundation Member, Sir John J. -
Masterplan Guidance, Queens Gardens, Hull
Please ask for: Nikki Stocks Telephone: 01482 613421 Fax: 01482 613110 Email: [email protected] Text phone: 01482 300349 Date: Friday, 20 December 2013 Dear Councillor, Economy and Regeneration Overview and Scrutiny Commission The next meeting of the Economy and Regeneration Overview and Scrutiny Commission will be held at 14:00 on Thursday, 09 January 2014 in Room 82. The Agenda for the meeting is attached and reports are enclosed where relevant. Please Note: It is likely that the public, (including the Press) will be excluded from the meeting during discussions of exempt items since they involve the possible disclosure of exempt information as describe in Schedule 12A of the Local Government Act 1972. Yours faithfully, Democratic Services Officer for the Chief Executive Page 1 of 76 Economy and Regeneration To: Membership: Councillors S Armstrong, S Chaytor, J Conner, J. Fareham, D Gemmell, E Mann, K E Mathieson, M H O’Mullane, L M Petrini, J Shipley and C Thomas Portfolio Holders: Councillor S Bayes, Portfolio Holder for Visitor Destination Councillor M Mancey, Portfolio Holder for Energy City Officers: Pauline Davis – Corporate Director Regeneration and Partnerships Mark Jones – Head of Economic Development and Regeneration (PA – My Broad) Malcolm Relph – City Economy Manager Fiona Harbord, Scrutiny Officer Nikki Stocks, Democratic Services Officer (x5) For Information: Councillor T McVie, Chair of Overview and Scrutiny Management Committee Members’ Information Office (Public Set) Reference Library (Public Set) Alerts: Brendan -
Westminster World Heritage Site Management Plan Steering Group
WESTMINSTER WORLD HERITAGE SITE MANAGEMENT PLAN Illustration credits and copyright references for photographs, maps and other illustrations are under negotiation with the following organisations: Dean and Chapter of Westminster Westminster School Parliamentary Estates Directorate Westminster City Council English Heritage Greater London Authority Simmons Aerofilms / Atkins Atkins / PLB / Barry Stow 2 WESTMINSTER WORLD HERITAGE SITE MANAGEMENT PLAN The Palace of Westminster and Westminster Abbey including St. Margaret’s Church World Heritage Site Management Plan Prepared on behalf of the Westminster World Heritage Site Management Plan Steering Group, by a consortium led by Atkins, with Barry Stow, conservation architect, and tourism specialists PLB Consulting Ltd. The full steering group chaired by English Heritage comprises representatives of: ICOMOS UK DCMS The Government Office for London The Dean and Chapter of Westminster The Parliamentary Estates Directorate Transport for London The Greater London Authority Westminster School Westminster City Council The London Borough of Lambeth The Royal Parks Agency The Church Commissioners Visit London 3 4 WESTMINSTER WORLD HERITAGE S I T E M ANAGEMENT PLAN FOREWORD by David Lammy MP, Minister for Culture I am delighted to present this Management Plan for the Palace of Westminster, Westminster Abbey and St Margaret’s Church World Heritage Site. For over a thousand years, Westminster has held a unique architectural, historic and symbolic significance where the history of church, monarchy, state and law are inexorably intertwined. As a group, the iconic buildings that form part of the World Heritage Site represent masterpieces of monumental architecture from medieval times on and which draw on the best of historic construction techniques and traditional craftsmanship. -
Urban Redevelopment.Indb
Wildman, Charlotte. "The Cathedral That Never Was?." Urban Redevelopment and Modernity in Liverpool and Manchester, 1918–39. London: Bloomsbury Academic, 2016. 167–189. Bloomsbury Collections. Web. 29 Sep. 2021. <http://dx.doi.org/10.5040/9781474257398.0016>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 01:45 UTC. Copyright © Charlotte Wildman 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 6 Th e Cathedral Th at Never Was? Th e Catholic Church in Liverpool also responded to urban redevelopment with ambition and innovation. As architectural expert Charles Reilly announced to readers of the New York Times in 1930, ‘ Liverpool is starting to build a second and even greater cathedral. Her new project, indeed, calls for the greatest cathedral in the world next to St Peter ’ s at Rome. ’1 Designed by Edwin Lutyens, ‘ arguably the greatest British architect of the twentieth century, ’ the planned Catholic cathedral, named the Metropolitan Cathedral of Christ, was intended to be second largest in the world and expected to cost £ 3 million.2 Th e impact of the cathedral on the city and beyond was highly anticipated: ‘ I see the cathedral then, like a rainbow across the skies radiating the true and the good ’ , wrote one prominent member of Liverpool Archdiocese.3 For the Archdiocese and, in particular for the cathedral ’ s pioneer, Archbishop of Liverpool Richard Downey (1881 – 1953), it represented an opportunity to transform the way in which Catholicism was seen both in Britain and beyond. -
Bishop of Barking “For Centuries, the Arts Have Been an Important
NEWHAM AREA BARKING AND DAGENHAM AREA CONTINUED HAVERING AREA CONTINUED St MARGARET’S BARKING St ANDREW’S, ROMFORD St PAUL’S STRATFORD Stratford Barking Romford Maryland Road, Stratford, E15 IJL The Broadway, North Street, Barking, IG11 8AS Cotleigh Road, Romford, RM7 9AT Artwork: A striking wooden hanging cross, painted and gilded and matching Artwork: St Margaret’s has a rich history of involvement in the visual arts. The Artwork: The East Window (1996) depicts the Transfiguration. There altar frontal (both unattributed) c. 1950’s. high altar was produced by Arts and Crafts architect and Morris & Co. designer, is a an icon by the iconographer John Coleman (2006), in the nave. Philip Webb. Morris & Co. designer , George Jack contributed a window, carved Opening Times: Sunday services: 11.00am Opening by prior arrangement at other Opening Times: Sunday, 10.30am. See website for full details. Access at other times times. Contact: Revd Kelvin Woolmer T: 020 8279 4053 or Frank Simons 0208 923 statuetes, and a painted font cover to a early Twentieth century reordering. A by prior arrangement with the Rector or Parish Secretary Contact: Rector, Fr John- 1453 E: [email protected] W: www.achurchnearyou.com/stratford-st-paul painting by Alan Stewart, entitled Early in the Morning (2005 – detail shown), Francis Friendship T: 01708 741256 or Parish Secretary 01708737791 shows a black Christ cooking breakfast for his disciples depicted as being E: [email protected] W: www. standrewromford.org.uk St MICHAEL & ALL ANGELS, MANOR PARK of every ethnic origin to reflect the diverse worshipping community at St Manor Pk EDWARD THE CONFESSOR, ROMFORD Romford Rd/Toronto Ave, Manor Park, E12 5JF Margaret’s. -
C20 CA Project Short Reports on Potential Conservation Areas
Conservation Areas Project Potential Conservation Areas Short Reports December 2017 CONTENTS 1.0 Introduction Section 10.3.2 of the Brief for the Twentieth Century Society Conservation Areas Project requires the research consultants ‘to prepare summaries of around 50 areas that have potential for future conservation area status, providing information on their location, the architect, date of construction, borough, one or two images and a short paragraph about the site’. These short reports are listed in Section 2.0 below, and the full reports follow, in numerical order. All the short reports follow a standard format which was agreed by the Steering Group for the Project (see appendix 3 of the Scoping Report). The reports are intended principally as identifiers not as full descriptions. In line with the research strategy, they are the result of a desk-based assessment. The historic information is derived mainly from secondary sources and the pictures are taken largely from the Web (and no copyright clearance for future publication has been obtained). No specific boundaries are suggested for the potential conservation areas because any more formal proposals clearly need to be based on thorough research and site inspection. 2.0 List of Potential Conservation Areas Historic County Area Name Local Planning Record Authority Number Berkshire Blossom Avenue, Theale West Berkshire 01 Buckinghamshire Energy World Milton Keynes 02 Buckinghamshire Woolstone Milton Keynes 03 Cheshire The Brow, Runcorn Halton 04 Devon Sladnor Park Torquay 05 Dorset -
RIBA Conservation Register
Conservation 17 If you are looking to commission work on a heritage building, you will need an architect with specific skills and experience. Our register of specialists encompasses all aspects of historic building conservation, repair and maintenance. For more information visit: www.architecture.com/findanarchitect/ FindaConservationArchitect by Tier RIBA Conservation Register 287 RICHARD BIGGINS DENIS COGAN ROISIN DONNELLY Frederick Gibberd Partnership, 117-121 Curtain Road, Kelly and Cogan Architects, 28 Westminster Road, Stoneygate, Consarc Design Group Ltd, The Gas Office, 4 Cromac Quay, Specialist Conservation Architect London EC2A 3AD Leicester LE2 2EG /81 North King Street, Smithfield, Dublin 7, Belfast BT7 2JD T 0207 739 3400 Republic of Ireland T 028 9082 8400 GIBSON (SCA) [email protected] T +353 (0) 1 872 1295/ 07557 981826 [email protected] ALEXANDER www.gibberd.com deniscogan@kelly andcogan.ie www.consarc-design.co.uk SCA CHRISTOPHER BLACKBURN JULIET COLMAN SIMON DOUCH SCA Has authoritative knowledge of Burnside House, Shaftoe Crescent, Hexham, JCCH, Kirby House, Pury End, Towcester, Northants NN12 7NX HOK International, The Qube, 90 Whitfield Street, London W1T 4EZ conservation practice and extensive Northumberland NE46 3DS T 01327 811453 T 020 7898 5119 T 01434 600454 / 07543 272451 [email protected] [email protected] experience of working with historic [email protected] www.jcch-architect.co.uk www.hok.com www.christopherblackburn-architect.co.uk buildings. CHRISTOPHER -
Understanding Post-War Architecture
Understanding Post-War Architecture The Twentieth Century Key Events 1916-20. Inflation pushes up the cost of building materials. Additionally shortages of materials encourage the use of new materials such as Crittall windows, sand-lime bricks, and prefabrication (steel and concrete systems) for council housing. These experiments were to be developed further after the Second World War, eg. No Fines housing, first tried in Britain in 1924 was widely used by (especially) Wimpeys (builders) after WWII. 1919. Housing (Addison) Act promises ‘homes for heroes’. 1921. Cut backs in public expenditure (Geddes Axe) as post-war boom turns to depression. It can be argued that the general economic malaise of the 1920s had a greater effect on British building than the Great Depression of 1929-33 which was devastating in localised areas, notably the NE and Wales. 1924. Empire Exhibition, Wembley (stadium opened the previous year). 1925. New Ways, Northampton, by Peter Behrens is first Modern Movement house, for W. Bassett Loake, who had previously commissioned C. R. Mackintosh to modernise a house in Northampton. 1926. General Strike. 1927. Le Corbusier’s Vers Une Architecture is translated into English as Towards a New Architecture. With his houses for the Weissenhofseidlung exhibition in Stuttgart, Le Corbusier defines ‘five points’ of modern architecture: free plan, free façade, flat roof, strip windows and pilotis. 1928. The first talkies in Britain (Al Jolson in The Singing Fool the first wide release here). Cinematograph Act requires cinemas to show a quota of British films. Film makers, distributors and exhibitors begin to combine and large companies (Gaumont, ABC, later Odeon and Granada) come to dominate the market, building big new super-cinemas. -
The Failure of the Preservation of Brutalism in Birmingham, England
The Failure of the Preservation of Brutalism in Birmingham, England Kelsey Dootson B.A. in History Missouri State University, Springfield, Missouri, 2016 Thesis Committee: Sheila Crane, chair Richard Guy Wilson Andrew Johnston A Thesis Presented to Faculty of the Department of Architectural History of the School of Architecture Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Architectural History School of Architecture UNIVERSITY OF VIRGINIA Charlottesville, Virginia May 2018 2 Table of Contents List of Illustrations ..................................................................................................................... 3 Acknowledgments ....................................................................................................................... 4 Introductions ............................................................................................................................... 5 Chapter 1: Destruction and Reconstruction ................................................................................ 10 Chapter 2: Brutalism in Birmingham ......................................................................................... 23 Chapter 3: Preservation in the City ............................................................................................ 37 Conclusion ................................................................................................................................ 47 Bibliography ............................................................................................................................