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From Victorian to Modernist Title From Victorian to Modernist: the changing perceptions of Japanese architecture encapsulated in Wells Coates' Japonisme dovetailing East and West Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/15643/ Dat e 2 0 0 7 Citation Basham, Anna Elizabeth (2007) From Victorian to Modernist: the changing perceptions of Japanese architecture encapsulated in Wells Coates' Japonisme dovetailing East and West. PhD thesis, University of the Arts London. Cr e a to rs Basham, Anna Elizabeth Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author From Victorian to Modernist: the changing perceptions of Japanese architecture encapsulated in Wells Coates' Japonisme dovetailing East and West Anna Elizabeth Basham Submitted as a partial requirement for the degree of doctor of philosophy, awarded by the University of the Arts London. Research Centre for Transnational Art, Identity and Nation (TrAIN) Chelsea College of Art and Design University of the Arts London April 2007 Volume 2 - appendices IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, LS23 7BQ www.bl,uk VOLUME 2 Appendix 1 ., '0 'J I<:'1'J ES, I N. 'TIT ')'LOi\fH, &c., 1'lCi't/'f (It I ,Jo I{ WAit'lL .\1. llli I'HO (; EELI1)i~ ;S ,'llId tilt Vol/IIII/' (!( 'l'1:AXSA rj(J~s IIf till' HO!/flt II} /"'t/ l., 11 . 1I'l l/ it l(' f .~. 1.0N"1J X . Sl 'o'n,"\ ~ I). Architcctlll'al A ' 'vCiltt.ion . Art. Ilion. Edill111lrgit Archil 'dural .\llsoci:llioll. ALllcwculU 'iuu. Edillhlll';.{II: ;\[lI <;elllll of H('iclH't' allli Art. lIriLiHll Arckl'ological Allsocialioll. (11a~gflw Archit 'ctll ml •\ ;;ociatioll. l 'ity and 1uiltid uf J. ... J1Il!UII lu!!tilul '. I Glasgow Institute or ArchiUoCls. ivil Illld Mc'dmuical EU"illc'rs' 'ociet. '. • Glasgow: Philosophical ,'oeidy, UuihlhuU Lillffil'y, 0 1 rollcllie I::iocioty. lRELA~D. lllslitut.iuu of Uivil Engineers, lIisloric..'l1 nnd ArchruologicaI Associat.ioll . ] nst.ittltion of lrcchallicill Engineers. lnstitution of Civil Engiuool's, 11'011 auu • teellnstitUl", Hoynl ])ul,lill ociety. Killg'l; 'ollege. HopI IIlRti!.ute of ArchiLects. Pal· lillo 'J<;:-"l'lorati'}1I }\llId, noral Irish . \. cauemy. l'aicllL Olliee .Fl'I:!11 Liurary, Ph otographic Society. l'OLO:NfAL A~l) lXIJIAN EHl'fltK U forlll 'In I). Uoyul ~ \ catl'lIly of' Arl,;. •\,i l' k laud: 111 t itnl" of Al'ChilCCl!l, New Zcaluud. Royn I AI' ·It:co)ugi('ul 11l"Ut till' Calculta: GOVCl'UllIClIt uf TIltlia (3 tOl,i ·s). UIII (,W Ill 'III. of BOlllh:t . (~l copies). I U 'al Ueogmphical ,'nciet)'. (III \' ' 1'L1lll 'nl of J.Jndl'tl:> copi ,,), l~oyal III tituLioll. (:3 Hoy ttl . 'ooi 'ty. MWltreal: McGill lIivcrsity. '[l.lIitary ttl titllte. New ,'ollth Wales ; yducy lustilut, "I' Architects, 'ci 'lice alld Art D 'parll1H'l\ l. Soci ty of IItiqurll'i' . , '0 'iety of A.l't.s. NITED STATES OF .AMEll10A. 'ociol.y or Uil.lliclll AI' ha·olu~y . Boston Society of Architects. ocieLy of Ellgineers. BORton : Illstitutc of Tec!Jnology. Ul'V yot'S' Institution. Chien'Yo: \Ve.'tcrn Assl>ciatiull or Architccl..-;. U 11i versi t, 'ollege. lthn(,l7. N 'II' York: 'orlle11 nive['gil),. XCIV York: J\ lIIcricnn Tn. Ljl.u(.o uf Ar 'hit :<'lli. ENCrI.... A..I.~I . X 'w YOI''': • 'CllOOl of ~IiIlC, 'oluml}ia 'ulle"l' n rkshirc At h:cological '. Al'cltitcctl1mI ~ucidy, San }~lmlCiscu: l'acific Coast ,t\sSOciU.tiOIl of Birll1ingkl.ll1 Al'chitc ·tuml A 'socialioll. Architects. Hl'ifltol: Mel'chllllt.s' Hall. W ashington : 'mithson ia.n Institution. ho.Lh u.lil: l oYltl Engine 'I':;' r IlsLitute. T~ ex Arclt: ·o'logi • I AO'ie!.y. F ImHOPE. Hx ·t(}r lJioccso.u Al'chiteettll'al '0 ieLy, 'ONTlNENT Leed!! awl YOl'ksMr Architectural .'ociely, Amsterdam: ociety" Architectum >t Ami 'iUn.." Lei WI' & Lcicc tCl'shirc oci ty of ArcllikdH. Bcdin: Architckwn-Verdu, Lillc Iu: Associllted AI'Chite 'tuntl Societies. Hl'U sels: A('udunlio noyale lie nclgi lU '. Livel'llOol Arehitedlll'fli . oci ty. Brus,'cls: Rucicto 'entraIn do l'Architcctur UP Liverpool I"reo Puhlic LilJl. ry. l~ ·Igiquc. Uvcl'Jx>ol Lil'ra!'y MU Philosophical Society. hristial1io.: Society of Engilleers and Architects Mnncllc.'ltel' Arclutectuml Association. and the Polytechnic 'ociety of Norwa.y, M. IIche tel': Ch tho.m's Libr:uy. Copenhagen: Itoynl Acarlemy of Fillo Arlg. M:o.nchestet· Literary nud Philosophical Society. Li bon: Iustitu of I'ortugucse Archit, t ,- . MimcTlest.er Society of Architect . M:ulrid: ciedad 'ontral do Al'quilccto '. NewcMtle-Otl-TyJlc: North of England Institute Puris: Ecole National des Beaux-Art.d. of Mining and Mecbauic..'1lEngineol' , Paris: Inslitut Natioual de Fran e. Northern Architectural A soeiation. Paris: eiate cotrnlc des Al'chitectes. Nottingham A1"lliteotuml Associntion. Rome: British and mericau Archroological un-e' Arch. ological ciety. ociety. Su sex AI' hlCological • 0 'iety. tockholm: Royal Acadel1ly of Fino Arts. Woolwich: Iwynl Engiu 'ers. St. P tcrsburg: Imperial Public Library, York Architc tuml Association. t. Pet rsbul'fJ: Society of l'cbit.ects. Yorkshire Al'chruological and Topolt\'3pbical Vienna.: Ostcn'eichiscbe Ingeuieur-ulld-A r ,111 - As oeiation. 0 tCktell-Verein . .*.* T,he JOI~rrw.l 0/ PlIO E~;DtNGS nnd the Volume of '1'RA~SACTIONS arc l' gularJ fOI \\',1 III t'll can'1l\ge-~'lld ~o V. I ' Mcmher t.h at homo anu ahroad j also to the Oxford, ll\lluriJgc, Edllllnlrgh, aud DuLhu llUl'aJ'.es, and to the British Museum. Appendix 2 Letter from Berthold Lubetkin to Wells Coates reproduced in The Architectural Review, November 1979, p. 330. The disillusioned looks bock 10th January 1933 Dear Wells, Lost time we met, I hod the impression that we were agreed that the purpose of contemporary architecture is to assert order and rationality, after the insane paroxysm of the War. But yesterday, you mode it clear you would be opposed to the formation of any kind of closed, exclusive 'chapel' with a clearly defined creed . And I appreciate the native empirical tradition you talked about, which makes it difficult to generalise, and relies on practice to develop the elusive quality of cohesion. As Lu betkin IS against this, we should remember that 'Theory without practice is borren, and practICe without theory is blind' . letter to So it would appear that the only criterion of eligibility for membership (aport from personal friendship for one's cronies) would be the negative one of opposition to currently accepted architectural values, and readiness to break with the familiar. I Wells Coates. If we have nothing more positive In common, thiS could lead to on endless, aimless pursuit of originality, with one stunning novelty leapfragging aver another. Such a quest for novelty could lead to nothing but a grey sameness, and originality which produces nothing but its own opposite is just eclectic rubbish . But are we really sure that in the absence of a theoretICal framework, the new venerable bodies will not perpetuate the old routine-riddled preoccupation? All this is reminiscent of the quite recent controversy which polarised opinion in Russia. The argument was over whether ideas are the product of circumstances, or in foct produce them. Whether It is utopian to formulate the alms and meonsof a new art in advance of social changes, or whether the vision and theory of artistic renewal can only develop organically in the woke of social changes. In essence, this argument could be red~.JCed to two alternatives - a struggle for minds, or a direct struggle for power; and as I understand It, you are opting for the lafter. Unfortunately, I cannot agree with this policy. You maintain that for you 'research' means collecting factual evidence. Of course, we all agree that facts have to be established before a theory is formulated, but surely the relevance of facts depends on the theory you are attempting to define. A practice without theory is blind and breeds monsters. By relecting the theory as a guide to human enterprise, the composition becomes a gruesome 'kitch', a bog of fashionable tricks with the sale aim to startle. From all the above you will conclude, deor Wells, that I do not intend to toke on active port In the Group (Club?), though I will, of course, do everything In my power to help and promote and organise it. Fondly, B Lubetkin Appendix 3 WELLS COATES: COMPLEfED WORK - ARCHITECTURE AND INTERIOR DESIGN 1928-1939 Crysede and Cresta Shops Crysede Silks, Cambridge. 1928. Factory interior for Cresta Silks, Welwyn Garden City. 1929. Cresta Silks, 92 Brompton Road, London. 1929. Cresta Silks, Bournemouth. 1929. Cresta Silks, 68 East Street, Brighton. 1930. Cresta Silks, High Street, Bromley. 1930. Second Cresta Silks, Brompton Road, London. 1931. Cresta Silks, Baker Street, London. 1932. Cresta Silks, Bond Street, London. 1932. Domestic Interior Design Conversions 34 Gordon Square, London. 1931. No.1 Kensington Palace Gardens, London. 1931. 2 Devonshire Street, London (with David Pleydell-Bouverie). 1933. 78 Addiscombe Road, Croydon. 1933. Own studio flat at18 Yeoman's Row, Brompton Road, London. 1935. Flats Lawn Road Flats, London. 1934. Embassy Court, Brighton. 1935. 10 Palace Gate, London. 1939. Houses Sunspan (with David Pleydell-Bouverie) first shown at Olympia in 1934. Sunspan houses built between 1934-1938: Nos. 1,2 & 3, Wentworth Close, Long Ditton, Surrey. 1934. 19 Avondale Avenue, Hinchley Wood Surrey (No.1, recorded as a Sunspan house, has been demolished.) 1934/35. 13 & 23 Southwood Gardens, Hinchley Wood, Surrey. 1934/35. 57,65 & 69 Woodlands Avenue, New Malden, Surrey.
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