A National Architect? The Percy Thomas Practice and Welsh national identity Elaine Davey Cardiff School of Planning and Geography Thesis submitted for the Degree of Doctor of Philosophy Cardiff University 2013 Abstract The Percy Thomas practice was responsible for designing a large number of structures in Wales throughout the twentieth century, for a range of functions that are part of the essential infrastructure of modern urban nations. The aim of this thesis is to show that the practice has made one of the most significant contributions to the built environment of modern, twentieth century Wales and that some of this work contributed to nation building, through the scale and scope of its projects, especially given the number of these that contributed to the fashioning of key institutions of the state or civic life. These buildings have contributed to the developing awareness of Wales emerging as a separate nation, through their particular function or even form. The practices role within that nation building and modernising agenda has yet to be evaluated, prior to this research project. The contextual framework for the research has been an understanding of nationalism. National identity is socially constructed and nationality has been, for the last two centuries, part of the political agenda of nation- states. Welsh nationalism and nation building are part of a wider European movement, as will be demonstrated, through the exploration of the development of nationalism in Wales and its manifestations. How the built environment relates to socio-political and cultural ideas of nation building and identity formation and then whether and how the built environment can contribute to the process of nation building and identity formation, given that it is often the product of complex power infused social relations, will be demonstrated, once it is established that buildings are able to communicate meanings. The role of the built environment and iconic buildings, in particular, are an important part of the process of drawing attention to often contested conceptions of national identity, this role is often overlooked and its importance under-estimated, this is particularly the case in Wales. The work of the practice is explored through a historical narrative account that sits within the critical realist research tradition for examining and explaining socially constructed phenomena, such as nation building activities. It will be shown that the practice was on some occasions, self- consciously undertaking work of this sort and displayed a degree of freedom regarding design. i Declaration and Statements Declaration This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed …………………………… Date………………………… Statement 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. Signed ………………………….… Date ………………………… Statement 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ………………………………Date………………………… Statement 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter- library loan, and for the title and summary to be made available to outside organisations. Signed ………………………………Date………………………… Statement 4: Previously Approved Bar on Access I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter- library loans after expiry of a bar on access previously approved by the Academic Standards & Quality Committee. Signed ………………………….……Date ………………….. ii Acknowledgements I would like to express my heartfelt gratitude to my supervisor, Dr. Huw Thomas, for his unerring patience, wisdom and guidance throughout the process of achieving this piece of work. It has been quite a journey of discovery in many more ways than I could have envisaged at the beginning. At times it has been enlightening, frightening, frustrating, humbling, revelatory and occasionally, deeply satisfying! I also have a debt of gratitude to a long list of colleagues and friends, for their help, advice, knowledge, support and concern during this late ‘career’ move. It has been very tough, on times, to know which to prioritise: my passion for conserving our conserving our heritage or recording it in this way Particular thanks are due to the following: My sons and their partners, for their faith in me. Professor Alison Brown for starting me on this journey, Dr. Francesca Sartorio for her incisive advice and generous support, the staff of CPlan and the Bute Library, John Hilling, Maureen Kelly Owen, Dr. Gerallt Nash, Trefor Owen and Donald Moore for their time, knowledge and insights, Dr. Douglas Bassett for his inspiration, Dr. John Kenyon and Richard Edwards for access to the museum libraries, Dr. Peter Wakelin for safe guarding the albums of beautiful photographs of Sir Percy Thomas’s work at the RCAHMW, Judith Alfrey for safe guarding the integrity of this important element of modern Wales (by Listing it), Jonathan Adams, Tim Green and Nicola James for their help in getting access to information at Capita, and finally, dear friends who in many different ways have kept me going but especially Peter Cox for his help in enhancing this thesis with its many images. iii List of illustrations. Figure 2.1 Palazzo della Civilta Italiana. (http://woodensquarerulers.files.wordpress.com/ 2013/01/20110307_roma_palazzo_della_civiltc3a0_italiana_fronte_-_lato_sx.jpg). Figure 2.2. House of German Art by Paul Troost. (http://www.welt.de/img/dc5-images/crop105162160/3460717937-ci3x2l-w580-aoriginal-h386-l0/ rh-Nazi-Kunst1-BM-Land-und-Leute-Muenchen.jpghttp://www.welt.de/img/dc5-images/ crop105162160/3460717937-ci3x2l-w580-aoriginal-h386-l0/rh-Nazi-Kunst1-BM-Land-und-Leute- Muenchen.jpg) Figure 2.3. The Bauhaus by Walter Gropius. (E. Davey). Figure 2.4. Villa Savoye by Le Corbusier (http://www.galinsky.com/buildings/savoye/savoye3l.jpg). Figure 2.5. Stamp showing Caernarfon Castle. (E. Davey) Figure 2.6. Postcard from the National Pageant of Wales. (E. Davey) Figure 2.7. Dame Wales painted by Christopher Williams. (Lord, Peter (2000) The Visual Culture of Wales: Imaging the Nation. Cardiff: University of Wales Press). Figure 2.8. Capitol Building, Washington. (http://www.globeimages.net/data/media/5/ capitol_building_full_view.jpg) Figure 2.9. Viceroy’s House. New Delhi. (http://paradiseintheworld.com/wp-content/uploads/ 2012/03/Rashtrapati-Bhavan.jpg). Figure 2.10. Zeppenlinfield, Nuremberg. (http://www.travelsignposts.com/Germany/files/2010/12/ Nurnberg-Rallies.jpg) Figure 2.11. Palace of Westminster. (http://www.populartourisms.com/wp-content/uploads/2013/02/ london-britain-europe-geography-aerial-view-big-ben-westminster-abbey- attractions-1024x640.jpg). Figure 2.12 Stockholm Town Hall. (http://www-oliverwinter-com-au.zippykid.netdna-cdn.com/wp- content/uploads/2012/12/Stockholm-Town-Hall-1024x682.jpg). Figure 2.13. La Sagrada Familia. (http://atickingthymeblonde.files.wordpress.com/2012/10/ familia.jpeg). Figure 2.14. Hill House. (http://upload.wikimedia.org/wikipedia/commons/d/de/HillHouse.jpg) Figure 2.15. Weissenhofsiedlung estate. (http://upload.wikimedia.org/wikipedia/commons/5/50/ Weissenhof-Luftbild-2004.01.jpg) Figure 2.16. Heimatstil (http://einestages.spiegel.de/static/topicalbumbackground/23882/der_hoehenwahn.html) iv Figure 2.17. Wales Millennium Centre. (E. Davey). Figure 4.1. The Senedd. (http://www.cityofcardiff.com/visitwales/senedd.jpg) Figure 4.2. Treforest Trading Estate Unit. (E. Davey, photograph of the PTP archive). Figure 4.3. British Nylon Spinners at Pontypool. (E. Davey, photograph of the PTP archive). Figure 4.4. Cardiff Maternity Hospital, Glossop Terrace, Cardiff. (E. Davey, photograph of the PTP archive). Figure 4.5. Broadcasting House. (E. Davey). Figure 4.6. Main Building. Welsh Folk Museum. (E. Davey). Figure 4.7. Business Statistics Office. (PTP) Figure 4.8. Amersham International Radiochemical Factory. (http://www.anderson-architectural.co.uk/wp-content/uploads/2012/09/Anderson007-b-sml.jpg) Figure 4.9 British Airways Avionics Facility. (http://www.ba-mro.com/baemro/images/imageLibrary/avioncs-aerial1.jpg) Figure 4.10. Wales Millennium Centre. (E. Davey). Figure 6.1. Nordic Museum in Stockholm. (http://upload.wikimedia.org/wikipedia/commons/ thumb/a/ab/Nordiska_museet_inne_2008.jpg/1280px-Nordiska_museet_inne_2008.jpg) Figure 6.2. Stockholm Town Hall. (ibid) Figure 6.3. 1955 perspective drawing of proposals for the Main Building at St. Fagans by the Percy Thomas Practice. (National Museum of Wales). Figure 6.4. 1965 perspective drawing of proposals for the Main Building at St. Fagans by the Percy Thomas Practice. (National Museum of Wales). Figure 6.5. Model of John Hilling’s design for the Museum Building. (John Hilling). Figure 6.6. Gallery One from the north-west in 1968/1969. (National Museum of Wales). Figure 6.7 The new extension 1973/1974. (National Museum of Wales). Figure 6.8 5 Cliff Parade, Penarth. (Cole, David (ed.) (1990). The New Wales. Cardiff: University of Wales Press). Figure 6.9 Central Courtyard of St Fagans showing the arrangement of galleries 1, 2 and 3 around it. (E. Davey) v Figure 6.10 South Elevation of St. Fagans (E. Davey). Figure 6.11 Service courtyard showing the rear of the administrative block, fuel stack, workshops and south wall of the 1954 Stage 1 building. (E. Davey). Figure 6.12 South Elevation from the south west. (E. Davey). Figure 6.13 Map of the site showing the location of the Main Building. (National Museum of Wales). Figure 6.14 St Fagans Conservation Area. (Cardiff Council). Figure 6.15 Map showing location of St Fagans relative to Cardiff. (Cardiff Council). Figure 6.16 Detail showing the conjunction of the restaurant block with the Agricultural Gallery and ‘lantern’ storey over. (E. Davey). Figure 6.17 The current arrangement showing the toilet block obscuring the west end of the Main Building. (E.