DOCSLIB.ORG

Sir Leslie Martin, Architect (1908 – 2000)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sir Leslie Martin, Architect (1908 – 2000) SIR LESLIE MARTIN, ARCHITECT (1908 – 2000) Sir Leslie Martin Sir Leslie Martin is mentioned elsewhere in the pages of this website, as the architect who designed the new, purpose built, Music Faculty building for Cambridge University, including the West Road Concert Hall, probably Cambridge’s most important concert venue. For this project (1977 – 1984) he was assisted by Colen Lumley and Ivor Richards. He was the first Professor of Architecture at the university, holding this position from 1956 to 1973. West Road Concert Hall auditorium, completed in 1977 The following obituary of Sir Leslie Martin, written by Diana Rowntree, was published in The Guardian, Wednesday 2 August 2000 Sir Leslie Martin Outstanding architect who designed the Royal Festival Hall and saw his craft in the context of time. The architect Sir Leslie Martin, who has died aged 91, was formed by the arts and crafts tradition, and his buildings bear the stamp of meticulous detailing and beautiful finish. Yet he believed that new products and materials demanded new forms and new methods of building. "Architects," he wrote, "must respond to the old forms and materials and perceive their true intent in their own age, and then, remembering everything, start again. This is the essential intention of tradition." He is best known for his work on the Royal Festival Hall in London, completed on time for the Festival of Britain in 1951, and for several large projects in Oxford and Cambridge. Martin grew up in Manchester, where he trained at the university school of architecture. He won commissions for private houses, mainly through contacts he had made while editing a Faber publication, Circle, which brought together views of the avant-garde in art, literature and the sciences. In 1934, he became head of the new architecture school at Hull University, and married Sadie Speight, also an architect. Together, they designed Northwich Kindergarten, and, in 1938, wrote The Flat Book, a reference work on contemporary furniture, fabrics and household products. Towards the end of the war, Martin became chief assistant architect to the LMS Railway, a creative centre of the hitherto unsung Modern Movement, whose rational, systematic and enlightened atmosphere must have been most congenial to him. From there, it was a natural progression to the London County Council, a centre of excellence at that time. As deputy to the chief architect, Robert Matthew, Martin was immediately involved in plans for the Festival of Britain, and its one permanent building, the Royal Festival Hall. No challenge could have been more tempting - the hall would be the first public building in Britain of the emerging 20th century architecture. So, in 1948, Matthew and Martin embarked on a fast-track building programme that would have stretched the skill of high- tech practitioners even today. Martin was not an able talent spotter, but he knew how to nurture it, and always gave credit where it was due. His collaborators were always named, and many launched upon successful careers. In 1953, he succeeded Matthew as chief architect to the LCC, and three years later was appointed to the chair of architecture at Cambridge University. He was a brilliant teacher, and believed that the purpose of education is to develop talents and stretch the mind. Architecture, he thought, was best approached by learning to recognise problems, analysing their various parts, and then bringing everything together. "In architecture," he said, "there are no separate subjects. Architecture need not be an arid cacophony; it should be a conversation." Martin was aware of spatial relationships on every scale; that buildings are not only the sum of the rooms within, but that they are also the bricks of which a town is built. His contribution to planning wisdom was that relationships in time must also be considered. Since land is becoming scarce, for example, we must take likely future needs into account. He believed that we had lost the power to guide and shape the forms of our environment, and needed to regain this power. He also believed that a building design could not be fully tested until it was built. The existence of the building research station made this easier, but experience strengthened Martin's interest in encouraging research as a career for architects, and in the development of building types. The success of College Hall, Leicester, confirmed this method and, as Martin's practice took root in Cambridge, Harvey Court, a residential building for Gonville and Caius College, provided a telling example of modern thinking on the hallowed quadrangle form. The same rational procedures produced the group of faculty libraries at Manor Road, Oxford, designed by Martin in collaboration with Colin St John Wilson. On their arrival in Cambridge, Martin and his wife converted the King's Mill, Shelford, to provide their practice with an office and their family with a house above. The detailing and surprising spaces of this building - and of the art gallery at Kettle's Yard - showed the formidable theorist and shy, and therefore often intimidating, professor in a new light. Meanwhile, Martin had also been consultant to the Calouste Gulbenkian Foundation almost from the time it acquired the old palace park in the Portuguese capital, Lisbon. In Calouste, he found a client whose perceptions of the relation between buildings and their environment matched his own. His appointment, in 1978, as architect for the detailed design of the next building to be added to the complex in the park, the Centre for Modern Art, offered an opportunity, surely unique, to design a great complex of buildings for which he could rely upon perfect craftsmanship and, even more unusual, ample funding. The results lived up to everyone's expectations. Today, the gallery rises from a moat, and overlooks a large amphitheatre. Children have a pavilion, where they can pursue their own art. The stepped section gives the even distribution and generous level of light that had become the practice's signature. That these are joyful buildings is no surprise. One can study Martin's writings and buildings in detail, but you have to stand back to grasp his achievement. This erudite professor acted out, over six decades, the naive intention of his generation - to put the findings of science and reason to the service of society, and of architecture. By promoting teamwork and research into building types, then by building these types and testing their practicality, he and his students, and like- minded architects, created the means to confront the awful scale of modern buildings. Martin was knighted in 1957. His wife died in 1992, and he is survived by their son and daughter. John Leslie Martin, architect, born August 17 1908; died July 28 2000 As Diana Rowntree notes, the building for which Leslie Martin is best remembered is the Royal Festival Hall, built for the Festival of Britain and completed in 1951. The building is in the Modernist style and was designed by Leslie Martin, Robert Matthews and Peter Moro, all at that time young architects working for London City Council. The foundation stone was laid in 1949. There were substantial alterations to the building, including changes to the façade in 1964 and raised concrete walkways were added around the building in 1967/68. It became a Grade I Listed Building in 1988. However, the Royal Festival Hall was closed for extensive refurbishment in 2005 and reopened in 2007. During this refurbishment the interior of the building was extensively remodelled, in spite of opposition from conservationists. So all in all, it has seen extensive alteration since it was first built. The Royal Festival Hall in 1951 An article by Andrew Saint, published on the website of the Cambridge University School of Architecture, describes Leslie Martin’s role in the development of the school as follows. Modernism was marginal in the Cambridge school before the Second World War. On the eve of the war the course was still as yet only for the three undergraduate years, about sixty students in all. A diploma exam could be taken two years after graduation, but as yet there was no actual diploma course. Research, commented a survey of schools, "tends to be looked down on," though "the Cambridge School, perhaps more than any other, has the potential resources required for that architectural research, in the broadest sense, which is so necessary if modern architecture is to develop". During the Second World War the larger Bartlett School was evacuated from London to Cambridge and some joint teaching took place. Despite ambitious plans for the future, [the Cambridge School] found it hard to adapt to post-war conditions and the school declined. But outstanding students . still passed through. In 1946 a fine teacher and architect arrived in the shape of David Roberts (1911-82), who drew many good students into his Cambridge practice, as Hugh Hughes had done before him. Bicknell and Roberts were to be the backbone of the post-war generation of teachers who took it for granted that lecturers would build as well as teach. They regarded their offices as natural extensions to the classroom. A decisive change came with the arrival of Leslie Martin (1908-2000) as head of school and it's first professor in 1956. The appointment was a coup. Among the most prestigious modernists in the UK, Martin had confirmed his pre-war reputation as an avant-garde architect with the popular success of the Royal Festival Hall. His intellectual air suited Cambridge; he possessed a doctorate (then rare in British Architecture), he believed in reconciling science with art, and before the war he had headed the Hull School of Architecture. Martin combined teaching and research with an atelier-style practice run from his home in Great Shelford.
Load more

Recommended publications
  • The British Library
    PUBLIC SPACE AND THE ROLE OF THE ARCHITECT London Modernist Case Study Briefing (c. 2016 FABE Research Team, University of Westminster) THE BRITISH LIBRARY CONTENTS SUMMARY………………………………………………... .......... 3 1. BUILDING CHRONOLOGY……………………………......... 4 2. POLICY AND IDEOLOGY………………………………........ 7 3. AGENTS……………………………………………………….. 12 4. BRIEF…………………………………………………….......... 14 5. DESIGN…………………………………………………………16 6. MATERIALS/CONSTRUCTION/ENVIRONMENT 22 7. RECEPTION…………………………………………….......... 22 BIBLIOGRAPHY………………………………………….……… 26 PROJECT INFORMATION Case Study: The British Library, 96 Euston Rd, London NW1 2DB Dates: 1962 - 1998 (final plan 1977, build 1982-1999, staggered opening November 1997- June 1999) Architects: Colin St John Wilson with M.J. Long, John Collier, John Honer, Douglas Lanham, Peter Carolin Client: The British Museum, then The British Library (following Act of Parliament 1972) Contractors: Phase 1A, Laing Management Contracting Ltd. Completion phase, McAlpine/Haden Joint Venture Financing: National government Site area: 112,643 m2 (building footprint is 3.1 hectares, on a site of 5 hectares) Tender price: £511 million. Budget overrun: £350 million 2 SUMMARY The British Library, the United Kingdom’s national library and one of six statutory legal depositories for published material, was designed and constructed over a 30-year period. It was designed by Colin St John Wilson (1922 – 2007) with his partner M J Long (1939 – ), and opened to the public in 1997. As well as a functioning research library, conference centre and exhibition space, the British Library is a national monument, listed Grade I in 2015. Brian Lang, Chief Executive of the British Library during the 1990s, described it as “the memory of the nation’, there to ‘serve education and learning, research, economic development and cultural enrichment.’1 The nucleus of what is now known as the British Library was, until 1972, known as the British Museum Library.
    [Show full text]
  • St Cross Building, 612/24/10029 University of Oxford
    St. Cross Building Conservation Plan May 2012 St. Cross Building, Oxford Conservation Plan, May 2012 1 Building No. 228 Oxford University Estates Services First draft March 2011 This draft May 2012 St. Cross Building, Oxford Conservation Plan, May 2012 2 THE ST. CROSS BUILDING, OXFORD CONSERVATION PLAN CONTENTS 1 INTRODUCTION 7 1.1 Purpose of the Conservation Plan 7 1.2 Scope of the Conservation Plan 8 1.3 Existing Information 9 1.4 Methodology 9 1.5 Constraints 9 2 UNDERSTANDING THE SITE 13 2.1 History of the Site and University 13 2.2 Design, Construction, and Subsequent History of the St. Cross 14 Building 3 SIGNIFICANCE OF THE ST. CROSS BUILDING 21 3.1 Significance as part of the Holywell suburb, and the Central (City 21 and University) Conservation Area 3.2 Architectural Significance 24 3.3 Archaeological Significance 26 3.4 Significance as a major library and work space 27 3.5 Historical Significance 27 4 VULNERABILITIES 31 4.1 Access 31 4.2 Legibility 32 4.3 Maintenance 34 St. Cross Building, Oxford Conservation Plan, May 2012 3 4.4 Health and Safety 40 5 CONSERVATION POLICY 43 6 BIBLIOGRAPHY 51 7 APPENDICES 55 Appendix 1: Listed Building Description 55 Appendix 2: Conservation Area Description 57 Appendix 3: Chronology of the St. Cross Building 61 Appendix 4: Checklist of Significant Features 63 Appendix 5: Floor Plans 65 St. Cross Building, Oxford Conservation Plan, May 2012 4 St. Cross Building, Oxford Conservation Plan, May 2012 5 THIS PAGE HAS BEEN LEFT BLANK St. Cross Building, Oxford Conservation Plan, May 2012 6 1 INTRODUCTION The St.
    [Show full text]
  • Willis Papers INTRODUCTION Working
    Willis Papers INTRODUCTION Working papers of the architect and architectural historian, Dr. Peter Willis (b. 1933). Approx. 9 metres (52 boxes). Accession details Presented by Dr. Willis in several instalments, 1994-2013. Additional material sent by Dr Willis: 8/1/2009: WIL/A6/8 5/1/2010: WIL/F/CA6/16; WIL/F/CA9/10, WIL/H/EN/7 2011: WIL/G/CL1/19; WIL/G/MA5/26-31;WIL/G/SE/15-27; WIL/G/WI1/3- 13; WIL/G/NA/1-2; WIL/G/SP2/1-2; WIL/G/MA6/1-5; WIL/G/CO2/55-96. 2103: WIL/G/NA; WIL/G/SE15-27 Biographical note Peter Willis was born in Yorkshire in 1933 and educated at the University of Durham (BArch 1956, MA 1995, PhD 2009) and at Corpus Christi College, Cambridge, where his thesis on “Charles Bridgeman: Royal Gardener” (PhD 1962) was supervised by Sir Nikolaus Pevsner. He spent a year at the University of Edinburgh, and then a year in California on a Fulbright Scholarship teaching in the Department of Art at UCLA and studying the Stowe Papers at the Huntington Library. From 1961-64 he practised as an architect in the Edinburgh office of Sir Robert Matthew, working on the development plan for Queen’s College, Dundee, the competition for St Paul’s Choir School in London, and other projects. In 1964-65 he held a Junior Fellowship in Landscape Architecture from Harvard University at Dumbarton Oaks Research Library and Collection in Washington, DC, returning to England to Newcastle University in 1965, where he was successively Lecturer in Architecture and Reader in the History of Architecture.
    [Show full text]
  • Download (342Kb)
    Chapter 2 From Architectural Concept to Built Form Introduction The following two chapters lay out the history of the Brunswick’s design, development and redevelopment over a period of 30 years, assembled through interviews, archival and bibliographic research (Appendices 4 & 5). The account reveals the contrasts and conflicts between different accounts and interpretations of the intentions behind, and evolution of the Brunswick scheme. It underlines the fundamental difficulty of ‘freezing’ a building in terms of its art historical evaluation, and the complexity of the process, involving many different parties apart from the architect as ‘author’, by which a work of architecture evolves from concept to material reality. So, although the Brunswick constitutes a powerful aesthetic and formal image, which has been canonised through the Listing process on the grounds of specific art historical criteria, it also constitutes a highly contested cultural artefact which brings together many different narratives besides the official discourse. The history of the Brunswick is particularly significant in terms of the questions it raises around the whole concept of ‘ownership’ as it relates to cultural artefacts. It stands out in one specific and quite unique aspect, which was the return of the original ‘author’ to resume work on his ‘own’ work 30 years after being forced to resign from the job, leading to a remarkable conflict of ownership claims. The architect’s claim to a moral right of aesthetic judgement and personal reinterpretation was vehemently opposed by critics and heritage spokespeople who claimed the building as an untouchable part of the collective national heritage, by the residents, claiming individual and collective territorial rights, and by the commercial firms, claiming the right of property ownership and associated freedom to redevelop it however their commercial objectives dictated.
    [Show full text]
  • Feb 2 7 2004 Libraries Rotch
    Architecture Theory 1960-1980. Emergence of a Computational Perspective by Altino Joso Magalhses Rocha Licenciatura in Architecture FAUTL, Lisbon (1992) M.Sc. in Advanced Architectural Design The Graduate School of Architecture Planning and Preservation Columbia University, New York. USA (1995) Submitted to the Department of Architecture, in Partial Fulfillment of the Requirements for the degree of Doctor of Philosophy in Architecture: Design and Computation at the MASSACHUSETTS INSTITUTE MASSACHUSETTS INSTITUTE OF TECHNOLOGY OF TECHNOLOGY February 2004 FEB 2 7 2004 @2004 Altino Joso Magalhaes Rocha All rights reserved LIBRARIES The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. Signature of Author......... Department of Architecture January 9, 2004 Ce rtifie d by ........................................ .... .... ..... ... William J. Mitchell Professor of Architecture ana Media Arts and Sciences Thesis Supervisor 0% A A Accepted by................................... .Stanford Anderson Chairman, Departmental Committee on Graduate Students Head, Department of Architecture ROTCH Doctoral Committee William J. Mitchell Professor of Architecture and Media Arts and Sciences George Stiny Professor of Design and Computation Michael Hays Eliot Noyes Professor of Architectural Theory at the Harvard University Graduate School of Design Architecture Theory 1960-1980. Emergence of a Computational Perspective by Altino Joao de Magalhaes Rocha Submitted to the Department of Architecture on January 9, 2004 in Partial Fulfilment of the Requirements for the degree of Doctor of Philosophy in Architecture: Design and Computation Abstract This thesis attempts to clarify the need for an appreciation of architecture theory within a computational architectural domain. It reveals and reflects upon some of the cultural, historical and technological contexts that influenced the emergence of a computational practice in architecture.
    [Show full text]
  • 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.
    [Show full text]
  • Making Post-War Manchester: Visions of an Unmade City
    Making post-war Manchester: visions of an unmade city Making post-war Manchester: visions of an unmade city 03 June - 24 June 2016 Manchester Technology Centre, Oxford Road, Manchester Exhibition Catalogue Acknowledgements The workshop and exhibition could not have been achieved without Finally, I should thank Martin Dodge for his dedication to this subject area the help and generosity of a number of individuals. First, we should and the rigour he has brought to my academic practice as well as the thank Dr. Kevin Tan of Manchester Metropolitan University, who gave fun we have had along the way uncovering some of these architectural up considerable amounts of his own time to both teach and tutor the gems. Of course, none of this could have been achieved without the students through the game environments. He went above and beyond intelligent, articulate and talented students of our School: anything expected of him when I asked him to act as consultant and gained the status of ‘legend’ amongst the students! Eddy Rhead and Shahrukh Ahmed Jack Hale of the Modernist Society were project partners and came Adam Brennan in to provide feedback to the students during the development of their Polys Christofi designs. They have also organised and marketed the exhibition. Scott Polly Clements Miller and Jim Backhouse have ably directed the production of the Florence Cooke-Steed ‘mega-plinth’ for the computers and its funding was kindly signed off by Bruna Da Silva Dr. Ray Lucas of the Manchester School of Architecture. Paul Aldcroft, Chris Doherty Technical Team Leader in the Faculty of Science and Engineering at Richard Durber MMU has been vital in the provision of advice and support for the digital Arron El-Ammar components of the exhibition.
    [Show full text]
  • The Interwar Years,1930S
    A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • My sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The Aesthetic Movement, 1860-1880 • Late Victorians, 1880-1900 • The Edwardians, 1890-1910 • The Great War and After, 1910-1930 • The Interwar Years, 1930s • World War II and After, 1940-1960 • Pop Art & Beyond, 1960-1980 • Postmodern Art, 1980-2000 • The Turner Prize • Summary West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1.
    [Show full text]
  • A History of British Architects' Use of the Daylight Factor
    The University of Manchester Research The Mathematisation of Daylighting: a history of British architects' use of the daylight factor DOI: 10.1080/13602365.2017.1376342 Document Version Accepted author manuscript Link to publication record in Manchester Research Explorer Citation for published version (APA): Lewis, A. (2017). The Mathematisation of Daylighting: a history of British architects' use of the daylight factor. Journal of Architecture, 22(7), 1155-1177. https://doi.org/10.1080/13602365.2017.1376342 Published in: Journal of Architecture Citing this paper Please note that where the full-text provided on Manchester Research Explorer is the Author Accepted Manuscript or Proof version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version. General rights Copyright and moral rights for the publications made accessible in the Research Explorer are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Takedown policy If you believe that this document breaches copyright please refer to the University of Manchester’s Takedown Procedures [http://man.ac.uk/04Y6Bo] or contact [email protected] providing relevant details, so we can investigate your claim. Download date:11. Oct. 2021 The Mathematization of Daylighting: a history of British architects’ use of the daylight factor Alan Lewis Manchester Architecture
    [Show full text]
  • Demolishing Whitehall
    DEMOLISHING WHITEHALL Demolishing Whitehall Leslie Martin, Harold Wilson and the Architecture of White Heat Adam Sharr Newcastle University, UK Stephen Thornton Cardiff University, UK First published 2013 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © 2013 Adam Sharr and Stephen Thornton Adam Sharr and Stephen Thornton have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identied as the authors of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafterinvented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data. A catalogue record for this book is available from the British Library. The Library of Congress has cataloged the printed edition as follows: Sharr, Adam. Demolishing Whitehall: Leslie Martin, Harold Wilson and the Architecture of White Heat / By Adam Sharr and Stephen Thornton. pages cm Includes bibliographical references and index. ISBN 978-1-4094-2387-4 (hardback) 1. Martin, Leslie, 1908-2000—Criticism and interpretation. 2. Public buildings— England—London. 3. Architecture and state—Great Britain—History—20th century. 4. Technology—Social aspects—Great Britain—History—20th century.
    [Show full text]
  • Cockley Moor
    Helen Sutherland at Cockley Moor Helen Sutherland at Cockley Moor 1939 - 1965 by Val Corbett w Helen Sutherland at Cockley Moor I ^ verything was a rhythm and a rite and a ,1. J ceremony from the moment of rising in the early morning. Everything was an event; a sacred event. Everything was a tradition, a lesson, everything was bequeathed, everything was a most saintly habit. Everything was an inner elevation and a prayer. All day long, sleep and wake, work and short rest, bed and board, soup and beef, house and garden, door and street, courtyard and threshold, and the plates on the table. Charles Pfcguy. Basic Verities. The inscription in the hall at Cockley Moor. c o U c e5 E33I HSden ae U7a11• SJrts Train Scrvtcn provided by Wctt Com S3 \i'(')NSoi{> © Val Corbett 1996. Designed by Cumbria Supplies Design &Advertising - 95625. Published byMidnight Oil, Chapel Yat, Helton, Penrith CAIO 2QA. ISBN 0 9521428 1 3 Introduction s g? 3 • /;c idea qj an exhibition and a publication about Helen a _A_ Sutherland and her collection has been 'waiting in the wings'for B many years. It was Northern Arts successful bid to host Visual Arts Year •5" UK in the Northern Arts Region that provided the cue - and enabled the I 2 funds to be forthcoming. This publication and the exhibition held in Penrith Museum in the Summer of 1996 are the result and together they give a fascinating insight into Helen Sutherland, her way oflife, and her collection. It is clear beyond doubt that this relatively unknown figure played a highly significant role in the story ofEnglish Art of the mid-twentieth century.
    [Show full text]
  • Critic|All I International Conference on Architectural Design & Criticism Madrid 12·14 June 2014
    critic|all I International Conference on Architectural Design & Criticism Madrid 12·14 June 2014 Leslie Martin y la ciencia de la forma urbana de Esteban Garbayo, Javier (autor); Calvo del Olmo, José Manuel (coautor) ETS Arquitectura, Departamento de Proyectos Arquitectónicos, Universidad Politécnica, Madrid, España. Resumen El proyecto de viviendas desarrollado por Leslie Martin en St. Pancras, junto a Colin St. John Wilson y Patrick Hodgkinson en 1957, además de convertirse en referente del modelo 'High Density / Low-Rise' como alternativa al 'mixed development' y la ciudad jardín, podría entenderse como el embrión de las ideas que diez años más tarde se desarrollarían en el LUBFS (Land Use and Built Form Studies) en la Universidad de Cambridge. Si la culminación de la idea de ciudad jardín habría llegado con el desarrollo de Roehampton siguiendo las directrices del propio Martin dentro del LCC un año antes, la nueva propuesta planteaba otro enfoque a partir de una profunda reflexión en torno a conceptos como la densidad, el tejido residencial o el espacio urbano. El método empleado analizaba el aprovechamiento del suelo a través de principios matemáticos dando como resultado formas con mayor capacidad de interacción con el espacio público y más adecuadas para los cambios de dimensión además de derribar la 'imagen' de que la alta densidad debía generarse a través de una edificación en altura. En el artículo 'The grid as generator', desarrollado por Leslie Martin como anticipo de las ideas desarrolladas en el LUBFS, también se cuestionan las relaciones existentes en la estructura física de la ciudad. Una de las claves se basa en la reconsideración de la forma urbana desde la comprensión de la escala y la configuración de la trama, red o malla, en relación a la disposición de la edificación dentro de ella.
    [Show full text]