The Architecture of James Stirling and His Partners James Gowan and Michael Wilford For my grandchildren, Michelle, Alex, Abigail and Zachary The Architecture of James Stirling and His Partners James Gowan and Michael Wilford A Study of Architectural Creativity in the Twentieth Century
GEOFFREY H. BAKER First published 2011 by Ashgate Publishing
Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA
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Copyright © 2011 Geoffrey H. Baker
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British Library Cataloguing in Publication Data Baker, Geoffrey H. (Geoffrey Howard) The architecture of James Stirling and his partners James Gowan and Michael Wilford : a study of architectural creativity in the twentieth century. 1. Stirling, James (James Frazer)--Criticism and interpretation. 2. Stirling, James (James Frazer)-- Aesthetics. 3. Stirling, James (James Frazer)--Friends and associates. 4. Gowan, James. 5. Wilford, Michael, 1938- 6. Architecture, Modern--20th century. I. Title 720.9'2-dc22
Library of Congress Cataloging-in-Publication Data Baker, Geoffrey H. (Geoffrey Howard) The architecture of James Stirling and his partners James Gowan and Michael Wilford : a study of architectural creativity in the twentieth century / by Geoffrey Howard Baker. p. cm. Includes index. ISBN 978-1-4094-0926-7 (hardback) 1. James Stirling, Michael Wilford, and Associates--Criticism and interpretation. 2. Stirling, James (James Frazer)--Criticism and interpretation. 3. Architecture, Postmodern--Great Britain. 4. Gowan, James. 5. Wilford, Michael, 1938- I. Title. II. Title: Study of architectural creativity in the twentieth century. NA997.J34B335 2011 720.92--dc22 2010046222 ISBN 9781409409267 (hbk) Contents
Preface and Acknowledgements vii Prologue and Introduction xiii
Part I Education
1 James Stirling’s Formative Years 3
2 Stirling’s Assessment of Modernity 23
Part II James Stirling and James Gowan
3 Laying the Foundations for a Fresh Approach to Design: Research and Development in Architectural Practice 35
4 Variations on the Square as an Archetype 65
5 A Heroic Architecture of Planes and Light: Early Modernism’s Functional Paradigm Reinvented 87
Part III James Stirling
Cambridge Analysis 107
Florey Analysis 131 6 The Sixties: A New Architectural Language 155
7 An Architecture of Context and Association 173
Part IV James Stirling and Michael Wilford
8 From Greenfield to the City 197
Part V An Overview of Stirling’s Approach to Design
9 Function, Form and Meaning 211
Stuttgart Analysis 249
10 James Stirling and Classical Architecture 303
11 James Stirling: Interests and Influences 339
12 Circular Forms in Stirling’s Late Work 369
13 Interview with Michael Wilford, October 1998 379
Braun AG Analysis 397
Conclusion – James Stirling: Last of the Masters 453
Colour Illustrations 467
Illustration Sources 479
Index 483 Preface and Acknowledgements This project was supported by a grant from the Graham Foundation for Advanced Studies in Fine Arts Preface and Acknowledgements
ix Architecture and and Architecture The last time we we time last The 1 Design Strategies in Design Strategies It was a poignant moment and as and as moment poignant a was It I was looking forward to having having to forward looking was I Tulane sabbatical from a With - analy the to an approach Architecture: about corresponded form and we of sis book. intended my processes involved. With some hesita- some With involved. processes my like would I that I mentioned tion of form the and take continue to study that? about feel he would How book. a each from away facing sat were We and oftable he a corner the at other face the in full me and looked turned – of a words man few saying – always please’. ‘Yes first our meeting as (of memorable he him). Later remind didn’t I which my to foreword generous most a wrote reader introductory spoke, he rang me in the United States States United the in me rang he spoke, reproduce to permission my asked and article Extension Gallery National my of special a issue in (spring 1990). Urbanism writing the on with him contact more and was I delayed, was book, this but of and learn saddened to shocked his the reading On 1992. June in death life than larger this to tributes moving glad was personality I colourful and briefly, however experienced, have to warmth and the anger fierce the both of many who the man generosity and - archi finest British the be to believe Lutyens. Edwin since tect on work I serious began University, ofa help the With 1998. in book the Foundation, Graham the from grant
------The last time I met James Stirling Stirling James I met time last The - Stirling/Wil the to me invited He engrossed with this sophisticated sophisticated with this engrossed very a when modernity, to monument rushing came young to man angry wards me bellowing ‘what the hell do do hell the ‘what bellowing me wards scary doing?’ This are you think you must ‘You reverie. my broke moment photographs’ take to permission have and chastened shouted. Suitably he unnerved explaining that I apologized, permission. necessary the did have I meet The away. walked he Glowering, absolutely was I mark. its ing left as furious as was and rights within my was. he of office Square Fitzroy the in was of article in An Stirling/Wilford 1987. - Architec in published had been mine competition his about Design tural London’s to extension the for entry months Several Gallery. National re his getting worth it thought I later I what thought as I out action had set Re moves. design main the were I was encounter, earlier calling the anything for and ready apprehensive ifasked he him. I telephoned I when boomed he article. ‘Yes’, the read had was ‘it manner; forthright most his in good’. very a mug of tea, over where, office ford conver engaging and had an lively we several piece the had read sation. He de surprised I and was revealed times realized hadn’t he that subtleties sign most understood I felt time. He the at and the intuitive of design moves the
- - - I met James Stirling twice. The first first The twice. Stirling James I met Stirling’s timeframe (four decades decades (four timeframe Stirling’s occasion was unexpected. I was taking taking was I unexpected. was occasion completed newly the inside photos Build- Faculty History Cambridge stunning and this 1964, was It ing. - dra gripped with its me masterpiece yet not was It and spaces. forms matic of empty opened, the Reading Room camera, up my setting furniture. I was - dom who of architecture ters modern mid-century; Frank scene the inated Rohe, der van Mies Wright, Lloyd Cor and Le Kahn Louis Aalto, Alvar of who those us only Perhaps busier. under period fully that through lived a at and stature stand his importance turmoil of upheaval, enormous time and transformation. Eighteen years have now passed since since passed now have years Eighteen in death untimely Stirling’s James - distant mem a seems work 1992. His in are of kinds architecture New ory. en- and the fire names being, fresh of once as Stirling thusiasm students Koolhaas, Rem are them Amongst did. Piano, Renzo Meuron, de and Herzog seems it Hadid; Zaha and Holl Steven - Uni Leicester the when era bygone a caused Building Engineering versity with associate we ofthe kind stir Museum Guggenheim Gehry’s Frank Bilbao. at fifties) the beginning in ofpractice - gen that alongside work his places the faced who of architects eration Second the followed that challenges mas the to him link They War. World I visited Stirling/Wilford buildings in Russell Bevington, senior partner for his meticulous analytical survey of Britain, the United States and Germa- with Michael Wilford, for sharing the Florey Building, Queen’s College, ny, and must thank Daniela Sorgan for with me many entertaining recol- Oxford. This study, which I tutored facilitating my visit to Melsungen and lections of what it was like to work when Graham was a student at Brighton Christopher Dyer for helping with my with James Stirling. I must also thank Polytechnic, formed the basis for my documentation of the Braun Factory. him for his discussion of the design own investigation of that building. I must also thank Gerhard Schewitz approach of the Stirling Wilford office, for showing me round Braun HQ and for his identification of sketches done I must thank Dean Donald Gatzke at Laurence Bain for his kind assistance by members of office teams working Tulane University for assistance during during my visit to the British Embassy on museum projects in Dusseldorf the entire project. Others who deserve in Berlin. Thanks are also due to and Stuttgart and for drawing my thanks at Tulane are librarian Francis Manuel Schupp for showing me round attention to works by George Steiner Hecker and the many faculty and stu- the New State Gallery in Stuttgart and that address the creative process. dents who contributed to my knowl- to Dr Von Hoist, Deputy Director of edge of the Stirling Wilford practice. the gallery, for kindly agreeing to dis- I must also give thanks to Stirling’s first For special mention I must single out cuss the building in an interview. partner in practice, James Gowan, who David Goldwasser, for his drawings of I am especially grateful to Lady has regaled me with entertaining and the Stuttgart State Gallery and Chamber Mary Stirling, for allowing me to in- informative recollections about the Theatre, and James Mattern, Alfred trude on her privacy, for sharing her time the two men spent together. I am Silva, Nancy Blanckfard and Maura recollections of her late husband, for also grateful to Mr Gowan for helpful Crisham for drawings of buildings by allowing me access to his library, and comments on the manuscript of an in- Stirling/Wilford. for providing illustrative material. I tended earlier book on the architecture must thank everyone in the office of of Stirling and Gowan. Thanks are also Jean Middleton, librarian at the Uni- Michael Wilford and Partners who due to Leon Krier for his thoughts on his versity of Brighton provided invaluable have helped me in all kinds of ways, period in the Stirling office. help in retrieving source material and I especially: must thank Nelson Benzing of the Uni- Special thanks are due to Laura Parker, versity of North Carolina for anecdotal Michael Wilford, for giving unstintingly for giving so generously of her time material about James Stirling. Philip of his time in arranging access to ma- during my searches at the archive of the Smithies deserves my thanks for a piece terial in the archive of the James Stir- James Stirling Foundation. This eased in this book in which he recalls his expe- ling Foundation, for arranging visits to my task considerably. Laura’s patience rience of Stirling’s furniture collection buildings by Stirling/Wilford and for and good humour were some of the and working in the Stirling/Wilford of- giving me the opportunity to see models many ‘rewards’ I experienced whilst un- fice. I am grateful to him for allowing of projects and other material. I would dertaking this project. me to include his drawings of the Stir- also like to express my appreciation of ling home in this publication. the time given for two lengthy inter- Over the years many have helped with views and for his continuing interest in the preparation of material for the I must thank Howard Schubert, Cura- my endeavour. book. I must single out Graham Miller tor, Prints and Drawings Collection, x The Architecture of James Stirling and His Partners James Gowan and Michael Wilford Preface and Acknowledgements - xi James Stirling James For architectural students this this students architectural For publication is, of course, essential study study essential of course, is, publication matter. a deeper and more sophisticated under- sophisticated more a deeper and to related design process the of standing will they that and building, a particular intel the to this communicate to be able un- striving to is surely who ligent reader Architecture. Modern derstand
- - - So I hope that Dr Baker’s skill will Dr Baker’s article on the National Surely Surely his method and skill in ex- be appreciated by a new generation of new generation a by be appreciated have will they that critics, architectural Gallery project was like a breeze of fresh analyse to his ability believe I and air, and explain an architect’s formal ambi form should a building to tions en route - responsibil a and credential basic be a should and writers, ity for architectural criticism. form a foundation for their plaining the design intentions which which intentions design the plaining new building of a appearance the to lead the than public the to value is of more architectural of the jottings gratuitous UK) the (in seem always who journalists, ir- and predetermined from be writing to the (in exception An viewpoints. relevant is able who Louise Ada Huxtable US) is be- dragging without visit a building to of prejudices. hind her a sackful I was surprised and delighted when when delighted surprised and I was Geoffrey Baker’s analysis of our design ap- Gallery National extension for the (January Design in Architectural peared I am and editions 1987), February and publi this it in included he has pleased cation. I felt he had ‘understood’ most made in we moves formal design of the - he inter indeed scheme, the evolving I which subtleties design several preted exposi until his and intuitively, felt only seems he It perceived. not fully tion had is able to clarify and describe a work of others that in ways Architecture Modern such as have Wittkower been able to do buildings. for historic
- Hove, April April 2011 Hove, Geoffrey H. Baker Geoffrey es t Stirling wrote the following Foreword Foreword following the wrote Stirling - Archi in DesignStrategies book my to of analysis the to approach an tecture: form: During the autumn of autumn During the 1987, James ndno
E 1 assistance steering this book through through book this steering assistance of publication. stages various the to gratitude enormous I express must whose Brandt, Matt son-in-law my of preparation in the support technical Without invaluable. been has book this been have not could book the help his written. thank to me for impossible is it Finally, whose Carolynn, wife my adequately writ all inform my critical comments - con her value I that, than More ing. and ac- encouragement support, stant of all help kinds. tive Centre Canadien d’Architecture and d’Architecture Canadien Centre valuable most their for Cowell Elspeth regarding queries all with my assistance Archive. Stirling James the and Rose Valerie thank I also must Ashgate at editors my Aimée Feenan, and patience all their Publishing, for This page intentionally left blank Prologue and Introduction
Staatsgalerie Stuttgart (1977–84)
James Stirling and Michael Wilford in 1980 at their office in 75 Gloucester Place
Cambridge entry sequence This page intentionally left blank Prologue and Introduction - - - - - xv 3 Frequently I use the name Stirling Stirling name the use I Frequently Stir between made is distinction A I think it’s through largely a thought process and intuitive. make I Then, possibilities. different of doodles go what understand to begins one when one begins aiming for, one is actually to intellectualize about it. It’s a - com bination of what’s coming out of the think I’m what and fingers my of ends in that do generally time. I ing at the the office, sometimes - peo to talk I aeroplanes. in then alone, that do I First ple about it and ask them to take the - pro the with continue and concepts interactive. it becomes cess; when referring to the work by Stirling Stirling by work the to referring when so In Stirling/Wilford. or and Gowan close worked that he doing I recognize and partners others, his that with ly working was When role. he a key played Wilford, Michael or Gowan James with authorship. had often joint designs the be to known is partner one When will his name concept, ofa author main used. be final the in seen as intentions ling’s of paths and creative those product The this. lead towards that discovery pro conceptual the that is contention difficult important, although a is cess, impinge factors many so because area docu to impossible nigh well is it. It on cloud can this do to ment, and attempts a be may intuition where issues, real the Stirling As of inspiration. source prime described approach: his
- - the Stirling office always always office Stirling the 2 worked this way, by drawing with the the with drawing by way, this worked created and colleagues pencil. his He be that drawings through primarily came the subject of discussion. subject the Ifcame this also is it method, preferred Stirling’s was ‘speak’ to I prefer architect an mine. As - archi explaining In drawings. through (though description me for tecture, cannot match and essential) necessary of drawings and directness clarity the articulation. This complex explain to by reveal, to out sets therefore, book analysis, and diagrammatic discussion his pursued over strategies design the partners his Stirling, James by lifetime Wilford, and Michael Gowan James with him. worked have who and those ofidentifiesbook the the structure The and of development this stages various it. explain examples chosen selectively Analytical approach drawing that Michael Wilford believes process conceptual the to key the was of office; their by the Parthenon. Stirling understood understood Stirling Parthenon. the by pro path, same the and followed that dazzling masterpieces, ducing modern have would that inventiveness, their in of and of Pantheon, the resonances Soane, as such figures historical great singles This and Hawksmoor. Vanbrugh twentieth- great other from out him believed he – because architects century ofheritage our acknowledgement this this evoke – and could worthwhile was mimesis. to resorting without
- - - Ada Louise Huxtable, Huxtable, Louise Ada , 1982, 88 , 1982, Design Profile I found a way to unlock to way I a found 1 Architectural Architectural Crystallized’, Style ‘A Steeped in history, Le Corbusier Corbusier Le history, in Steeped There are a number of number a reasons are There Show me ad hoc architecture by an an by me ad hoc architecture Show - relation you show I will and architect sub- or subliminal be may that ships Or it is not there. are they but versive, architecture. Prologue My interest in architectural articulation articulation architectural in interest My surrounding mysteries the with began of output. help the With Le Corbusier’s devised by technique diagrammatic a Eisenman Peter created an architectural language that that language architectural an created moved had been he as us move could ebullience that makes visits to his build- his to visits makes that ebullience powerful a have They memorable. ings mind. They the in stays that presence full of and are dis action colour, have and serious can funny be They coveries. unpredict are time. They same the at extraordinarily and sometimes able Stirling to drawn was I So dramatic. Le with him connect roots his because similar, he’s ways many In Corbusier. maxi to experiences our controlling move we as emotional impact mize buildings. his through the puzzle, and have used this many many used this and have puzzle, the times. about Stirling. write to I wanted why and an entertaining has is work His Very small sketches, sometimes done not pursue second rate investigations. spaces which are unthought out and not during travel, can summarize the es- He seeks a higher goal and will not take detailed, because in so doing, you are sence of a concept. Several remain to less. The final outcome connects medi- trying to express the importance and confirm this
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8 Berlin (1998–2000) Berlin Arrangement of the bookArrangement I Part parts. five in arranged is book The years formative Stirling’s James at looks ofArchitecture. School Liverpool the at in milieu architectural the at looks This attempt evolved, philosophy his which P.2 Michael Wilford, British Embassy, British Embassy, Wilford, Michael P.2 Having written extensively about about Le extensively written Having on ‘carried me for Stirling Corbusier, level deep very of a At Corbu. torch’ the fundamentals same the in believed he - archi of saw each modernism. They whose of a morality in terms tecture reading correct a depended on integrity con Wilford has of world. the modern tinued and the methodology reasoning years. many over formulate to helped he work after otherwise could be it How alongside Stir decades three ing for Rogers, Richard Sir quote to who, ling, British greatest the doubt was: ‘without and century, of twentieth the architect as being of world the rest the seen by of his architect important most the generation’.
------and as and as 6
- - - 14 The undeniably romantic bias of bias romantic undeniably The Juhani Pallasmaa reminds us (with us reminds Juhani Pallasmaa Great architecture presents an au- presents architecture Great it derives fact In life. image of thentic - intel than rather a sense of life from total self-assurance than than Stirling’. self-assurance total has availed himself availed of in has treasures the such with or deeply more goldmine that I.3 James Stirling, History Faculty Building, Cambridge (1963–67) Cambridge Building, Faculty History Stirling, James I.3 Stirling’s late work, drawing on on inter drawing work, late Stirling’s ests suppressed at the beginning ofthe at suppressed ests his ofthe because impact in gains career, and romanticism this between tension under that functionalism rigorous the the exploiting in skill it. Stirling’s lies two conflict these potential between con a as this highlights only not states ofpluralism, dition twentieth-century flairhis artist. an demonstrates as but Stirling) that: to reference
- - - - 13 Although he refused to be aligned be to refused he Although for me, “functionalism” remains the the remains me, “functionalism” for ba- and, I hope, the guiding principle, include can (which sis of our concepts it en- where and association reference - very the the I regard Indeed lightens). - con major orythe as functionalism of progress. architectural tribution to This affirmation of This as functionalism that changes the amongst constant a - architec modern in place taken have the alongside understood be must ture - through evident and progress changes earlier his Although work. Stirling’s out and Cam as Leicester such buildings his Post-modernism, or Brutalism with each. Michael to debt a betrays work ‘magpie’, a him termed has Wilford Gullichsen’s Kristian to response and in mine its functional ethos. As he later later he As ethos. functional its mine explained: significant a break represent bridge offunc- redefinition the the in through removed far were canon, they tionalist late his in apparent synthesis the from discov we period. work In his mature extended to credo functionalist the er of meaning layers more many embrace and contextual with the engaged as he of city. aspects historical the - gold a ‘is Modernism that assertion to not foolish be would it which mine out points Wilson John St Colin ignore’. who architect ofother knows he that ‘no Stirling’s sagacious critique of critique sagacious - modern Stirling’s under to seek did not ism, however, tenderly returned a young nestling to they draw and because there is a minimum how one set of ideas could be reinforced in a tree. Recalling his outrageous sense of mechanical drafting we find that com- innumerable ways within a design, finding of humour, Wilson points out that puters, which cannot think laterally, are of layers of consistencies supportive of the ‘what is then truly remarkable is that all little use to us in the creative process … whole’. Frank Lyons, ‘The Flower and the these conflicting elements in Stirling’s We have a partiality for axonometric draw- Bulldozer; Cosmic Philosophy of Henryk temperament flowed without inhibi- ings because they enable us to set out the Skolimowski’, Shining a Light on Humane tion into his architecture’ giving rise ‘to spaces, surfaces and volumes of a design in Architecture (a book celebrating the life building forms that elicit what Adrian a single image which has no distortion, and and work of Henryk Skolimowski). Stokes called the feel of a body surviv- gives an accurate reading of the building For examples of this technique see ing in a remote transposition’.16 …’. This shows ‘how complex assemblies, Baker, G.H., Le Corbusier: an analysis In fact, Stirling’s temperament, as interlocking functions and constructional of form, Third Edition, E and FN Spon, expressed in his courageously defiant sequences will actually work … We have London, 1996, and Design Strategies in stance, self-confidence, and refusal therefore developed the “axo” as one of Architecture: an approach to the analysis to follow current trends, colour all his our key working tools’. Michael Wilford, of form, Second Edition, E and FN Spon, readings of architecture. There is a Introduction, James Stirling Michael London, 1996. ‘Churchill College revis- sense of continuity in his work so that Wilford and Associates: Buildings and ited’, RIBA Journal, vol. 87, no. 11, 1980, right from the beginning, as a student Projects 1975–1992, Thames and Hudson, 45–47, ‘Form following function? Design at Liverpool, we discern the boldness, London, 1994, 5. strategies as shown in Ahrends, Burton assurance and innate command of his 3 ‘Stirling Stuff’, James Stirling in conversa- and Koralek’s Chichester Theological Col- medium that would take him to a posi- tion with Sunan Prasad and Satish Grover, lege and Trinity College, Dublin, Library’, tion of leadership amongst his peers. published in Architecture and Design (New Architects’ Journal, vol. 172, no. 47, 19th Delhi) no. 5, July–August 1987. Quoted November 1980, 976–977. ‘James Stir- from Stirling: Writings on Architecture, ling and the promenade architecturale’, Endnotes edited by Robert Maxwell, Skira, Milan, and ‘Stuttgart promenade’, Architectural 1988, 242–243. Review (Special Issue), James Stirling, 1 Peter Eisenman, ‘The formal Basis of 4 The architect Frank Lyons explains this as vol. 191, no. 1150, 1992, 72–78. ‘A For- Modern Architecture’, doctoral disserta- ‘a way of examining buildings that opens mal Analysis of Stirling’s Unsuccessful tion, University of Cambridge, August up the complexities of a contemporary Proposal for the National Gallery Exten- 1963. The basic notion, of considering a building without destroying its integrity or sion, London’, Architectural Design, Post- project initially in generic terms, this then layering it with superfluous historical in- Modernism and Discontinuity, Academy being taken further as site, programme, terpretations … Within this methodology a Editions, Architectural Design Profile, form and space impact the concept, owes building may be examined against its own no. 65, London, 1987, 68–79. Also pub- its origin to Eisenman. This was published criteria and if necessary against those of lished in Architecture and Urbanism, Ex- as a facsimile copy in 2006 by Lars Muller. the building’s context. For me this became tra Edition, Recent Work of James Stirling, 2 ‘Throughout every stage of the design pro- the perfect tool. I felt like one of Galileo’s Michael Wilford and Associates, spring cess we draw every probable option for assistants must have felt when he invented 1990, 117–135. ‘The Sainsbury Wing at each part of the project. All our staff are the telescope, suddenly I was able to open the National Gallery, by Venturi, Scott creative architects who think and invent as up the delights of a building, exploring Brown and Associates’, Architectural De- xx The Architecture of James Stirling and His Partners James Gowan and Michael Wilford Prologue and Introduction xxi - C. St John Wilson, op. cit., 20. op. cit., Wilson, C. St John James Stir ‘a revelation’, J. Pallasimaa, Review, Architectural ling: In memorium, 9. December 1992, 19. op. cit., Wilson, C. St John
14 15 16
James , December Architectural Design Architectural Architectural Review Architectural , Academy New Museums Editions, James Stirling, ‘Design Philosophy and James Stirling, in Recent Work’, vol. Design, 85, Architectural no. , Profile 60, 5–6/1990, 13. Architecture, and S. Giedion, Space Time Cambridge, Mass., 1941 (1967). In Me- ‘James Stirling: Wilson, C. St John moriam’, 1992, 18. real destructive mind’, me- Dal Co, ‘A F. event for James Stirling at the Royal morial London, 2nd November 1992. Academy, Re- from Architectural taken Transcript view, December 1992, 4. author, October 1999. author, died, the On the day that James Stirling BBC showed a film about his work pro- duced by Michael Blackwood in 1987. a tribute Rogers paid this, Richard Before that included this quotation. Introduction, Wilford, Michael Associ- and Stirling, Michael Wilford 1975–1992, and Projects Buildings ates: Thames and Hudson, London, 1994, 5–6. James Stirling, op. cit., 239–240. James Stirling, op. cit., with the conversation in Mary Stirling, British Wilford’s Michael See especially his exten- (2000) and Berlin in Embassy sion to the Braun complex at Melsungen. sign, 16–19. See also, Chichester London, 1991, the A discussion of College, Theological , and Burton and Koralek Ahrends, work of Library, Polytechnic Portsmouth by ABK, Polytechnic; videos produced at Brighton Analysis of Form: Richard Atheneum: with a USA Meier, a video made in the Foundation. grant from the Graham
13 11 12 7 9 10 6 8 5 This page intentionally left blank Part I Education This page intentionally left blank 1 James Stirling’s Formative Years
James Frazer Stirling, photographer, view of Mosley Colliery, Tyldesley, England (n.d.)
James Frazer Stirling, House for the Architect, New England: plans (1949)
James Stirling, History Faculty Building, Cambridge (1963–67) Staatsgalerie, Stuttgart (1977–84) This page intentionally left blank 1 James Stirling’s Formative Years
- - - - 5 Towards a Towards 3 This lavishly illustrated book book illustrated lavishly This 4 British Art and the , Mediterranean The influence of these two books, books, influenceThe two of these traces the classical derivation of classical derivation much the traces and the and architecture, art English back influencetraced is Mediterranean show invasion, Roman the before long that and architecture art ing sculpture, culture permeated the English have - Ital Illustrating years. 2,000 over for and Jones Inigo used by models ian design his for on Rome reliance Wren’s argues book the Cathedral, Paul’s of St England between empathy deep a for derings of classical orders followed by by of followed derings orders classical and offountain, antique design an the design had to we end ofyear the at that Voysey, of C.F.A. manner the in house a of span a history’. quite He explains how ‘we oscillated back oscillated ‘we how explains He and and Saxi Wittkow Architecture New Influences at Liverpool Influences antique the between and forwards wards Movement’ Modern arrived just the and past of oscillation between pattern a the in evident became that present and most was He period. of late his work influencedCorbusier’s Le by er’s that coin of architectural sides the two of us remind open-endedviewpoint. his architectural poles in the opposite at explain Stir spectrum, does much to Saxi vocation. and his to approach ling’s eighteenth on the focusing Wittkower, to extent ‘the show to out set century, Greece to indebted is art English which and Italy’.
------2 Stirling has described the atmos described Stirling the has The School of Architecture was in a revolution as the ferment tremendous had just hit it, architecture of modern was There late. rather and secondhand of the validity the as to furious debate heat were tempers modern movement, Some intense. was and discussion ed resignedstaff and afew studentswent offto other schools; at anyrate I was moral of the conviction a deep with left new architecture. of the rightness Stirling’s Liverpool background was was background Liverpool Stirling’s sev in development his to important eral ways. Under Sir Charles Reilly, the the Reilly, Charles Sir Under ways. eral had become ofArchitecture School Beaux-Arts the in academy leading a of succes his days and in the tradition students Budden, Lionel Liverpool sor, mo with Prize Rome offthe carried student, Stir a As regularity. notonous of eclectic mix an exposed to ling was and historical modern, and as sources, in good be to had ‘one recalled later he - did ren we year first In the styles. many existential conditions of war and wealth wealth and ofwar conditions existential perspective different entirely an gave of Instead experience. university the to enjoy undergraduates, being carefree were veterans life, these ing university professional a pursuing seriously very determined qualification. were They of educational the most the make to opportunity. he when school Liverpool the at phere there: was
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nd nd chool chool a S ure Exposure to other other to Exposure 1 t ool ool ec p irling irling t er St v i L - archi in course his began Stirling mes mes he he a J t Archi of tecture at Liverpool University in Sep in University Liverpool at tecture - archi twentieth-century some Unlike discourse theoretical whom for tects action, for base necessary a formed has suspicious always was Stirling James ‘bullshit’, called it se. He per of theory pro the rejecting ideology for always tackling by was of design itself. It cess - devel he that problems architectural art, like of his understanding his oped of security on the his relying Lutyens, wrote he Lutyens, And, like intuition. and then and expounded rarely little distrusting work, about his briefly, trendy, a about him in wrote who those fashion. obscure ex-serviceman an and as 1946, tember in course the complete to allowed was can approach His mature years. four - architec beginning his to linked be service. He war school following ture sustained wounds from recovering was at convalescing landings, in the D-Day when Yorkshire, in House Harewood As architect. an decided become to he a out; was Mary Stirling points ‘this generation interesting tremendously of people social because the mix-up; grand in invalided were classes all from unfa- and exposed to houses country situations’. miliar Beginnings and the Mediterranean region, an em- man, the Italian rationalists, and later, Stirling’s architectural education was pathy felt by Stirling at a visceral level. when he moved to London, Hawksmoor, never confined to academe, and when His love of Italy extended throughout Archer and Vanbrugh, these architects he moved to London in the autumn his life, nourished by his enjoyment admired for ‘the ad-hoc technique which of 1950, he learned about the Russian of its artists, architects and towns and allowed them to design with elements of Constructivists; he ‘devoured’ a book on cities. Roman, French and Gothic sometimes in Asplund and in the early fifties he devel- The book also celebrates the achieve- the same building’.6 oped an interest ‘in all things vernacular ments of English architects such as Sir In 1948 Stirling was selected as one from the very small – farms, barns and John Vanbrugh, who ‘possessed a sense of three students to visit the United village housing to the very large – ware- not only for the arrangement and piling States, seeing buildings by Wright, Gro- houses, industrial buildings, engineer- up of masses, but also for what might pius, Breuer, Howe and Lescaze and ing structures, including the great rail- be called architectural drama to a larger other modernists. On this visit he found way and exhibition sheds’. degree than any other English architect’. the turn-of-the-century shingle houses He later became interested in the The authors cite Vanbrugh’s Belvedere of New Haven more interesting than ‘stripey brick and tile architects like at Claremont House, Esher, in Sur- Saarinen or SOM – the current heroes.7 Butterfield, Street and Scott’. He also rey (1715): ‘The bastion-like belvedere, He was impressed by a ‘limited period of enjoyed the Soane Museum, Neo-classi- with its four towers is a good example of Frank Lloyd Wright’s production, partic- cal architects like Candy and Goodridge Vanbrugh’s peculiar archaism, which is ularly the concrete block houses around and their German counterparts, Gilly, a free interpretation of medieval castle Los Angeles’ and he noted the ‘way out’ Weinbrenner, Von Klenze and Schinkel.8 architecture’, Vanbrugh’s architecture aspect of New York Art Deco buildings being ‘conceived in blocks and designed such as the Chrysler Tower. He also ad- The Liverpool and to be seen from many viewpoints’.5 mired Wright’s Johnson Wax HQ at Ra- Manchester schools Given Stirling’s propensity towards cine, Wisconsin, but was not impressed the bold and dramatic, and his love of by Aalto’s Dormitories at MIT. Several of Stirling’s student projects historic architecture, selection of such a Interests in English castles, French at Liverpool University have sur- book is not surprising. Nor is his other chateaux, Bavarian Roccoco, Italian vived and are preserved in the ar- choice, Le Corbusier’s Towards a New gardens, Venetian palazzi and English chive of the James Stirling Founda- Architecture, which offered the theoret- country houses confirm the range of tion.9 As my architectural training ical basis for the works illustrated in his Stirling’s eclecticism. He revealed this at Manchester University began in Oeuvre Complète series. Two books, one at the RIBA on receiving the Royal Gold 1951, the year after Stirling qualified, revering an English tradition, the other Medal for architecture in 1980 and illus- Stirling’s work, not dissimilar in de- a poetic and impassioned plea for an trated his talk with his German compe- sign technique or presentation from architecture that would capture the titions, the extension to Rice University the ongoing approach at Manchester, spirit of the twentieth century, provid- School of Architecture and the Stuttgart affords a fascinating area of compari- ed the greatest influence on the young Staatsgalerie, examples that inferred son. Each school at that time had a James Stirling. easily discernible connections between strong Beaux-Arts bias; planning and The range of his interests is reveal- the catholicity of his sources and the presentation were important and the ing, and included Mackintosh and Hoff- works themselves. Classical Composition, rendered in
6 The Architecture of James Stirling and His Partners James Gowan and Michael Wilford 1 James Stirling’s Formative Years - - - 7 This is not an easy quest and the and the quest easy an This is not programme designed the from He other compelling impression of compelling impression the other con of continuity, that view is on work student of early tinuity from intention A of maturity. works the to beginnings detail to attention diligent consistently done – projects in throughout evident is parallel in is this office Stirling’s in later of enquiry. breadth remarkable a with work the separates this level project At that from genius of acknowledged an amount vast The of architects. most to compulsion of a confirms material - regard level, artistic highest the reach of exigencies of commercial less the financialprofessional survival. If there the all running through thread one is the to beginnings earliest from work, perfection, for search a it’s works, great of sublime. the pursuance steadfast a tells archive the in preserved material to struggle of persistent struggle, us not Sketches, goal. the achieve finally all ofkinds explore Stirling, by always expectation solutions in the alternative are There emerge. will one right the that peo many and sometimes stages many Stirling, ways. different in involved ple Gowan, James with first practice, his in Russell Wilford, Michael with then Bain, and along Bevington, Laurence others, and Leon many Krier way the alone. did work not innumer in inspiration for looked but of spectrum the across sources, able observed he what and from history of in material areas Two him. around
- - - - - mes mes a ion he J he at t 11 e of of e ound v F rchi a My first impression was how very very how was first impression My irling irling The The St Rome Scholarship in Architecture so so Architecture in Scholarship Rome the turned in that tide a times, many of Manchester succession a fifties with included Michael McKinnel that wins won of that team member a the (later Nor competition). Hall City Boston the Manchester at student a was man Foster of educational the time, evidence this at influence of universities northern these period. post-war immediate during the At the James Stirling Foundation we en- we Foundation Stirling James the At flowerings of early pre a with counter The visual material The visual sophisticated alongside talent cocious of- archi modern a Master by works in together,
- - - - - 10 It was an annoyance at at Manches annoyance an was It There was a strong academic academic bias strong a was There ter that Liverpool managed to win the the win to managed Liverpool that ter Rowe’s article article ‘The of mathematics the Rowe’s a mathe alerted Stirling to villa’ ideal Palladio’s between relationship matical Corbusier’s and Le Malcontenta Villa - teach Rowe’s de-Monzie. Stein Villa Modern the see to enabled Stirling ing of filter a informed through Movement alerting him to awareness, historical that ofview architecture inclusive that all thinking. his colour to was chitecture of formed the bedrock un- chitecture directed was derstanding. Manchester War World post-Second during the - Cord Annandale Reginald period by en- who in scholar 1923, a Rome ingley, grounding in his thorough a couraged Masters Martin’s Leslie studies. torical and of formed thesis part tradition this doctor his completed Thomas Howarth Mackintosh Rennie of Charles study al - Man at year first the teaching whilst emerging an had Liverpool But chester. in brilliance ofprescient star academic a became who of person the Rowe, Colin studied ofstaffhaving 1948 in member Rudolf under Institute Warburg the at as Rowe cites Stirling Mary Wittkower. influence’ Stirling, on tremendous ‘a mod- that view the to him introducing the to could be linked architecture ern and Mannerism. Renaissance Italian sepia, was a key subject of study as as of subject study key a sepia, was of form the in projection shadow was sciagraphy. of and school ar history each the to the archive are revealing. One can be observed in his personal photographs, the other in the all-pervasive use of col- our in sketches, projects and the build- ings documented in the collection.
Stirling’s personal photographs
His personal photographs are informa- tive in their choice of subject. We see the underpinnings of his architectural philosophy as he selects aspects of 1.1 James Frazer Stirling, photographer, 1.2 James Frazer Stirling, photographer form, construction, texture and how houses in Avenham, Preston, (presumed), Stirling and Gowan, things are built of interest to him. He England (1957–61) views of housing redevelopment at was drawn to the functional essence Avenham, Preston, England of buildings. For example, his photo elevated street-deck resting on the pro- (1959 or after) of housing at Avenham, Preston <1.1> jecting kitchens of the flats below. The shows a layering of brick gables and kitchen structure is carried up, outside chimneys with strong shadows that re- the deck to form a coal hole and dustbin veal the forms, with a roof profile show- niche facing the door of the maisonette ing apparently random additions whose above <1.3>. As the architects explain: vitality is born is purpose. There’s a vig- ‘these terraces have the air of a vernacu- orous interplay of vertical brick planes, lar tradition craftily re-assessed in terms chimneys and sloping roofs. Windows of a society in transition’. In Stirling’s are not ‘composed’ but placed where photo of an elevation <1.4>, the wall, on needed; a garage and other buildings a slope, has windows at differing heights 1.3 Housing at Avenham, Preston, are set at a different angle. There’s a cer- as Stirling and Gowan emulate the England: section through ground floor tain amount of clutter in this random vitality of vernacular idiosyncrasy – apartment and maisonette above grouping. It speaks of honesty, integ- windows are ‘set at different heights rity and unselfconscious vitality. In his above the floors to give a switchback Tyldesley, in Lancashire
8 The Architecture of James Stirling and His Partners James Gowan and Michael Wilford 1 James Stirling’s Formative Years 9 But ideas went both ways as as mem- ways both went But ideas If you didn’t like something the he drawn, be proposing or drawing, was trick was to say “that’s the way Rossi then change we’ll “OK it”. would do it”. say and you with sit down would He it do could We do this? we could “how like this, or this, and he could just go on, five, six, seven, eight alternatives, but I don’t like any of those guys go so away and think you of something Sodifferent”. hewas always- challeng challenging always and himself, ing - domi of excellence standards own final the was He archive. the nates always, not though frequently, arbiter, of ideas. initiator the sometimes would of office bers the Russell As concepts. Stirling’s criticize recalls: Bevington - - - of an unusual but telling kind of kind in- telling unusual but an of of ex these characteristic a is tegrity of open-endedness – plorations the of pillar Stir central a reveals which the Stirling For patterns. thought ling’s of without bounda- act building was classification. His conventional or ries important an is photography personal will return we that of archive part the 11. Chapter in to In his office Stirling created a studio studio a created office Stirling In his take could discussion open an where tossed could be ideas where place, out points Bevington Russell around. draw based on always was this that intellectual an just never was It ings. in- the Nevertheless, conversation. of Stirling’s nature personal tensely The Stirling office 1.5 James Frazer Stirling, photographer, view of kilns, United Kingdom (1950s–1970s) United of kilns, view photographer, Stirling, Frazer 1.5 James
- - - 13
His photo of contrast photo kilns has His Avenham, Preston, England England Preston, Avenham, or after) (1959 (presumed), Stirling and Gowan, and Gowan, Stirling (presumed), at views of housing redevelopment ing chimneys and domes evocative of evocative and domes ing chimneys monumental, yet informal mosques; arresting visually that is unity a with and placement pattern texture, – the of‘wall’ a a kiln of as in front tiles the seems that ambiguous image an forms of honesty structural the to integral observation acute the kilns <1.5>. The The concrete hopper on the right of right the the on hopper concrete The state transformed a re-appears in photo column support a as decades later three (1977– Stuttgart in Gallery State the at
10 The Architecture of James Stirling and His Partners James Gowan and Michael Wilford 1 James Stirling’s Formative Years 11
Staatsgalerie, Stuttgart Staatsgalerie, Crosswall House (1951) House Crosswall 1.10 Sculptural ‘composite’ of of ‘composite’ 1.10 Sculptural 1.8 James Stirling, Core and and Core Stirling, 1.8 James
competition entrycompetition for Sheffield University Nordrhein-Westfalen Museum, Museum, Nordrhein-Westfalen (1975) Dusseldorf: axonometric 1.9 James Stirling and Michael Wilford, Wilford, and Michael Stirling 1.9 James 1.7 Sketch by Leon Krier of Stirling’s Leon Krier of Stirling’s by 1.7 Sketch
- - - - - James James Stirling: Buildings These drawings further the process process the further drawings These highlight to abstracted are Shapes Perspective and axonometric line line and axonometric Perspective of creative exploration by revealing revealing by exploration of creative and of relationship precision this the of clarity intensify the to as so drawn - exag emphasis, Selective concept. the and simplification underlines geration important. Such as seen features those creative the crystallize to help drawings mentary form in the perspectives drawn drawn perspectives mentary form in the thesis, Stirling’s for Maxwell Robert by me the being in value own their have discovery creative which dium through project post or pre Whether place. takes of existence the than is less important as beautiful objects in drawings these the consummate that right own their a in contribute act. they In this creative mystery. the to way major axonomet dimensions. Stirling’s other House and Crosswall Core ofthe ric dimen- three a (1951) explains <1.8> fully and plans evident in the sionality not under can be concept The elevations. ofsame The sculpture. piece a as stood of view the Dusseldorf of down true a is ‘sculptural the or <1.9> project Museum of relationship the showing composite’ neighbour its to drum Staatsgalerie the <1.10>. and entry foyer ing ramp the pursuance of an aesthetic of aesthetic journey an pursuance the art. as high seen be only can that the for Krier Leon by done drawings ofpublication and consolidate , 1950–74 Projects and of works quality the artistic confirm the ele in images, Such <1.7>. themselves drawings have a softness that reflects his romantic stance. The archive induces a profound awareness of what George Steiner ar- gues is ‘the kinship of art with the call- ing on mystery in the matter of the world and of man’.15 Steiner argues that the arts now fulfil our desire for contact with the divine that was formerly the province of religion. In the James Stir- ling archive, one confronts something beyond ourselves, into which we can be initiated by the artist. The sense of the sublime can be related to our search for 1.11 James Stirling, Michael Wilford and Associates, cross section of intangibles of the spirit. As Steiner ex- the National Gallery extension (1985) plains: outcome, a summary that highlights its elusive nuances of mood with tech- The gravity and constancy at the salient features. The drawings become niques that may affirm either an archi- heart of major forms and of our un- indispensable to the investigation, in- tect or a period, as, for example in the derstanding of them are religious in a trinsic to the cognitive iconography that drawing of the Glyndebourne Opera … diffuse sense. They enact … a root they represent. House, that evokes drawings of work impulse of the human spirit to explore Post-competition drawings for the by Karl Friedrich Schinkel <1.12>. These possibilities of meaning and truth extension to the National Gallery (hung changes in technique reflect changes that lie outside empirical seizure or in the Fitzroy Square office) sanctify in Stirling’s view of his art, as the later proof,16 the search for the sublime <1.11>. They confirm the architects’ vision. Stirling helped to colour them himself and such drawings signify his ‘betrothal’ to the work. In so doing they confirm his whole state of being as an artist and his search for a fusion between modern- ism and the glories of past architecture. They pay homage to his perception of architecture as part of a historical continuum, in their sectional elegance connecting in spirit with Soane’s No. 13 1.12 James Stirling, Michael Wilford and Associates, Lincoln’s Inn Fields. Drawings capture Opera House, Glyndebourne, England (1988)
12 The Architecture of James Stirling and His Partners James Gowan and Michael Wilford 1 James Stirling’s Formative Years - 13
possibly a parody of Frank Lloyd Lloyd of Frank a parody possibly (n.d.) Water’ ‘Falling Wright’s The house has a green copper copper green a has house The he was enthusiastic about the work of work the about enthusiastic was he in- an is sketch The Wright. Lloyd Frank parody lively a triguing perhaps fantasy; depicts as it Water’ ‘Falling of Wright’s exaggerated with a horizontal house windows masonry continuous joints, deck projecting and a eaves the below a been have may It waterfall. a beside at student a was he when design sketch Liverpool. a overlooking rocks on roof and set is cartoon-like quaint, a to next stream sup crudely deck is The bridge. stone out projects that pier stone a on ported a Behind waterfall. the house the into of mountains moonscape snowcapped of the horizontal the to contrast in rise splashing enjoys house. clearly Stirling – and all sculpting kinds colour the on – the fieryis orange sky ofThe forms. of raw extravaganza an It’s yellow. sun is bridge The joyfully. clashing colours hint early an gives tree fallen and a pink section. C.2 in plate illustration See also Note: 1.14 James Frazer Stirling, sketch, sketch, Stirling, Frazer 1.14 James - - Stirling’s 1948 trip to the USA made made USA the to trip 1948 Stirling’s tect James Stirling’, done in his fourth fourth his in done Stirling’, James tect small, a in stored carefully was It year. perfectly and so is box hand crafted those resembles it that preserved when prized items, collectors rare still intact are original containers the
17 folio t or p irling’s irling’s
t St uden mes mes ity and eternity, between matter and and matter between eternity, and ity other”. man and “the spirit, between sense and exact common is in this It underwritis to, on opens poesis that metaphysical, and religious the by, ten music, poetry, is “What questions: The do “How be?” not they can “How art?”, in- we do how and us upon act they ultimately are, action?”, their terpret questions. theological … it is the enterprise and spirit of the spirit of the and enterprise … it is the aesthetic to quicken into lit presence temporal between continuum the t a 1.13 James Frazer Stirling, House for the Architect: model, probably late autumn 1948 late probably model, Architect: for the House Stirling, Frazer James 1.13 section. in plate C.4 illustration See also Note: J s folio; there is a visceral sense of that of sense that visceral a is folio; there needed and commitment persistence and aesthetic intellectual advance to material the Amongst development. - archi the for house ‘A for model a is The beginnings of Stirling’s creative creative ofThe beginnings Stirling’s port student his in found are voyage and: Early designs
In his third year design for a Comm unity Centre for a Small Town in the Middle West (1948), Stirling places the centre in an L shape around a courtyard using a Miesian steel frame with golden section proportions (a diagram to the left of the section demonstrates how the dimensions for one façade were estab- lished) <1.15>. In his fourth year Stirling designed a more complex project for an Organic Chemistry Laboratory for a North- ern University (1949). The solution is workmanlike, a building that fulfils its purpose simply and without rhetoric. 1.15 James Frazer Stirling, Community Centre for a small town in the Middle West, The language is that of the modernist USA: plans, sections and elevations, signed J.F. Stirling, New York (fall 1948) vertical slab arranged to a structural grid, its modular rhythm punctuated of his trademark Stirling green. Next ling thought he may have been colour on elevation by vertical circulation. to the bridge there’s a silhouette of a blind.18 He liked the clash of oppos- A circulation spine runs along the tree with a ‘mouth’, ‘ears’ and a ‘tail’. A ing primary colours. On seeing this ground floor of the slab with an en- large rock in the foreground is in multi- sketch we are bound to think of the try foyer looking onto a court. Two coloured contrasting hues. The effect is Staatsgalerie, with its pink and blue major elements project from the slab almost three dimensional, surreal and handrails, blue and red painted steel at ground level, a lecture theatre dreamlike. He was a joker, and the bold- canopies, brightly coloured extract alongside a court on one side, coun- ness, vibrant colour, exaggeration, sense ducts and the vivid green floor and tered on the opposite side by a one of fantasy, humour and sheer exuber- window mullions in the entry pavilion storey double–banked block of rooms. ance are pure Stirling.
14 The Architecture of James Stirling and His Partners James Gowan and Michael Wilford 1 James Stirling’s Formative Years - 15 ing. ing. He liked to get the organization set out in terms of how many floors be based had to and so on. Everything design the that so logic functional a on - pro the what to according evolved gramme demanded. The organization relationship the thing, critical the was that got you Once parts. the between sorted out we went back to the - (con sketches. ceptual) What Jim would have liked most is a a cube middle, the in a square square, would he then and entrance the for - circu be would This there. from it take do can we this drum) central (the lar entry (the foyer) wiggle a of bit a with - be diagram and so on. So he would matically organizing and arranging the building and thinking about this route through. But the route through, - essen primary brief, was in the which last thing the was achieved, it was tial say would about. So Jim worried we “whatever you do don’t worry So about building”. the through route that he didn’t want a route established to - build the “Get building. the generate a lay can we how see we’ll then and ing Jim Jim had a very clear method of work essentially the same some 25 years years 25 some same the essentially Neue the design for with the later Russell As Stuttgart. at Staatsgalerie recalls: Bevington Describing the Neue Staatsgalerie, he Staatsgalerie, he Neue the Describing continues:
England: elevations and sections (1949) elevations England: England: floor plans (1949), signed ‘J.F. Stirling 4Y’ Stirling floorEngland: signed ‘J.F. (1949), plans 1.17 James Frazer Stirling, Organic Chemistry Laboratories for a Northern University, University, Chemistry for a Northern Organic Laboratories Stirling, Frazer James 1.17 1.16 James Frazer Stirling, Organic Chemistry Laboratories for a Northern University, University, Chemistry for a Northern Organic Laboratories Stirling, Frazer 1.16 James route through the building”. A big thing I learned from Jim was that you go one step at a time.21
James Stirling’s thesis
Stirling’s thesis consolidates his design skills. A Community Centre as part of a Town Centre for Newton Aycliffe, County Durham, was a good vehicle to demonstrate his method of working and his command of his medium. It tested strategic and detailed planning skills and the result shows a mature understanding of the problem. At the 1.18 James Frazer Stirling, Town Centre and Community Centre, beginning of his career it also reflects Newton Aycliffe: final plan for Town Centre (1949–50) Stirling’s commitment to architecture’s potential for social and cultural en- richment, something very much in the minds of the post-war generation. It demonstrates Stirling’s belief that ar- chitecture was not just an ego trip, an opportunity for self-expression, but was first and foremost a service to mankind, to which he dedicated his considerable skills as a designer. In embryo, the town centre crys- tallizes themes that persist in his 1.19 James Frazer Stirling, Town Centre and Community Centre, life’s work. It is well organized, axes Newton Aycliffe: view of model of Town Centre (1949–50) controlling the plan, with key build- ings carefully placed and appropriate The rectangular site has two main a Health Centre, offices and a Police spaces and routes. Volumes are clearly axes, one leading from the shopping Court. At one corner, a Concert Hall at stated in true Stirling fashion, and square along a pedestrianized prom- a centre of gravity overlooks the square. each piece in the town centre is placed enade, into the lowered main square, Four pylons held by cables surround to support the whole in a positive way terminating at the tower containing the hall giving it a festive air reminis- that recognizes its symbolic impor- the Town Hall and Municipal Offices. cent of the Skylon that would feature tance <1.18> <1.19>. The square is enclosed to the north by in the Festival of Britain on the south
16 The Architecture of James Stirling and His Partners James Gowan and Michael Wilford 1 James Stirling’s Formative Years - - 17
How far this particular pendulum pendulum particular this far How architect may enhance life in the fullest fullest the in life enhance may architect thesis recent some to contrast sense, in experience author’s that, choices, in the cur suit to geared been frequently have ex self-indulgently trends, stylistic rent avoiding studiously whilst ploring form of realities life. the - illumi is decades, five in swung has - - thesis presentation: east elevation and sections 1 and 2 east elevation presentation: thesis 1.20 James Frazer Stirling, Community Centre, Newton Aycliffe, Aycliffe, Newton Centre, Community Stirling, Frazer 1.20 James organized paths and gardens and such and such and gardens paths organized located bus strategically a as necessities of awareness a mature is halt. There pub the enhance can architecture how lic domain by respecting civic dignity, dignity, civic respecting domain by lic and utilitarian amenity both cultural - Com a of Choice needs. symbolic and detailed develop for munity Centre the where is this that us reminds ment
- - 23 22 Although only a diagram of diagram intent, a only Although The planning reminds us of the us planning reminds The sche If are of elevations most the Alongside the Concert Hall, a sec- a Hall, Concert the Alongside following year. following bank of the Thames in London the the London in Thames of the bank this is a sophisticated concept with with concept sophisticated a this is detail, sensitive to unusual attention plane, ground of the treatment the to carefully with convenience, public to Beaux-Arts tradition at Liverpool and and it at Liverpool tradition Beaux-Arts Modern the framework this to on was assimilated. gradually was Movement ment onto the parade. the onto ment and axial organizational hierarchy The through Stirling, that confirm ordering and others the influence of Rowe Colin classical - grounding ten in the good had a acknowledges of ets design. The layout elevational of building, every role the lead- from inspiration drawing treatment as Powell such of day the ing practices Ward. and Melville Gollins or and Moya slab the to elevation east matic, the is and Banks, Office Post the containing membrane outer the treats not. Stirling offlexible a the building as that so skin and position the assume can windows specific use. each needed size for ond axis, a raised parade supported supported parade raised a ond axis, the overlooks also columns, sturdy by detailed and Stirling’s to leads square El- Centre. Community a for design end of eastern the contains evated, it and Church, Hall Dance A square. the to adjacent ground but level at located axis, along aligned this are parade the turning move Hall Dance circular the nated by a conversation with Russell Suisse,26 and a courtyard is a good way to the centre to the north west enables the Bevington. Stirling, following his con- admitting light. But it was Mies van der bulk of the building to ‘belong’ to the science, and the sense of social respon- Rohe, not Le Corbusier, who used the main square that it overlooks. Also, the sibility of his day, methodically evolves a horizontal slab with courtyards. Refer- northern edge of the centre is aligned solution from programmatic demands, ring to his use of pilotis Stirling wrote: with the northern edge of the Concert deliberately sublimating formal ex- Hall so that the two buildings contain pression until such needs are satisfied. The natural outcome of placing a the southern part of the court. In the current climate of the nineties, building on stilts is to make it hover, The hovering horizontal plane of students were deliberately encouraged that is if the object on the posts has di- the landing, the rubble wall below and to take an opposite approach. To quote rection horizontal outwards all round. glazed connections with the court are Bevington: To put a box on edge (that is with reminiscent of Frank Lloyd Wright, pro- greater height than breadth) on stilts viding an internal/external experience I do a certain amount of external ex- is to contradict its verticality, this form of some richness. From the stair land- amining (at Architectural Schools) should plunge into the ground like a ing there are views into the court and and students want to arrive at the spear. To place it on posts is against its towards entry, with a further view down finished thing. They get something in direction. Only forms like a slab on its from the first floor foyer leading to the their head and wish to wilfully produce side, a table top, or a lying book can be restaurant. a form. I’ve seen galleries on eighteen placed on posts. At roof level are squash courts, floors, all staircases and core; they a sunbathing terrace, a tennis court wanted to do a tower building regard- In his Community Centre Stirling and a shuffleboard area, promoting less of the brief.24 separates the containing walls on the Le Corbusier’s view of architecture as ground floor of the form of the struc- health-giving, liberating mankind with In Stirling’s Community Centre, first ture and follows Le Corbusier’s plan happiness through recreation. A clue impressions include a sense of the me- libre principle. Entry is on the parade to Stirling’s destiny and the sense of ticulous care with which every space is axis, neatly locking the building into continuity in his work occurs with the considered, outside and inside, and the the master plan and forming a circula- revolving weather vanes on the roof importance of communicating how they tion axis that splits the courtyard in two of the complex, later appearing above are used. Elevations sparkle with colour <1.21>. Stirling divides the rectangle the extract flue to the kitchen on the and are brought to life by figures resem- into three bays to the north west of the raised podium of the Florey Building at bling those on Le Corbusier’s drawings axis and two to the south east. Reject- Queen’s College Oxford. <1.20>. The presentation is helped by ing any Miesian formula that produces The thesis absorbs many current in- the precision of zipatone.25 a formal straitjacket, Stirling has one fluences, but Stirling was unhappy with The appearance of the building is court longitudinal on the linear axis, the inefficiency of Le Corbusier’s plan Corbusian, with its pilotis and rein- the other lateral on the cross axis. This libre as used by him in his thesis: forced concrete construction. A rhythm allows him to arrange an entrance hall of structural bays clad in glazing or pre- on the circulation axis with a generous Rooms and circulation were intermixed cast concrete slabs might be associated space adjacent for stairs that look on to and no doubt compromised each other with the south elevation of the Pavillon the lateral court. Having three bays of functionally, which is always the case
18 The Architecture of James Stirling and His Partners James Gowan and Michael Wilford 1 James Stirling’s Formative Years 19
thesis presentation: ground and first ground floor presentation: thesis plans 1.21 James Frazer Stirling, Community Centre, Newton Aycliffe, Aycliffe, Newton Centre, Community Stirling, Frazer 1.21 James
------27 - is exces Circulation libre. a plan with - of accommoda types and varied sive tion are fitted into arectangle; - “com word, operative a more is pressed” as volumes of forcing the describing different as restaurants, assembly an hall, libraries, offices, into constrict a ing space. tion in the summer of does summer tion What 1950. in the and education Stirling’s about us tell it de the approach? is Obvious design his problem architectural an solving in light practi in expectations normal beyond problem The terms. cal and aesthetic intertwined, closely are and solution its expression of the integrity the that so understanding thorough a on depends not will Circulation programme. ofthe enrich be efficient, must but be simply ing experientially. Design principles of at thought well was thesis Stirling’s and qualified distinc he with Liverpool This critique critique is justifiedThis and did he throw does but it error, the repeat not of flexibility lack the focus sharp into an planning, Rohe’s der van in Mies - canon be to 1954) (in later approach Smithsons’ the in England in ized be comparison A School. Hunstanton re thesis and Stirling’s plan that tween and approach of us different minds his himself distance from to came he how Brutalist New their and Smithsons the ideology. These were the ground rules of Stir- tivity with the pencil will be communi- conveyed is one of joie de vivre, the ling’s understanding of his discipline cated by osmosis into the building. drawings having a certain sparkle. in which architecture is seen as reality. Presentation of the ideas is a prior- Missing from this student synthesis Reality of structure, of floor surfaces ity, drawings being supplemented by are those developments of the mind that and cladding materials and a reality of models and perspectives. The handling would continue after graduation and function in that every room must work. of form relates volumes to spaces, us- throughout Stirling’s lifespan. This em- The medium of exploration is the pen- ing the axis as the means of control. bryonic statement confirmed that his cil, drawings are carefully crafted. Sensi- Rhythms are important and the effect brain was ‘correctly wired’ as far as the fundamentals are concerned. The the- sis explores the architectural language of his day. It does so (uncharacteristi- cally in terms of his later approach) in an uncritical ‘Festival of Britain’ mode that became known as Swedish Mod- ern. His thesis, designed in 1951, could be regarded as ‘picturesque’, a term that, as the fifties progressed, would be con- demned as lacking in rigour because it failed to implement the tough intellec- tual discipline evident in, for example, Le Corbusier’s early modern works of the twenties <1.22>. A close scrutiny of the architectural scene was about to be undertaken by an avant garde group of aesthetes and intellectuals in London, who would formulate the architectural philosophy that came to be known as the New Bru- talism, a tough corrective of the polite modernism in vogue during the imme- diate post-war period. It was in this cli- mate that Stirling’s postgraduate educa- tion would continue.
1.22 James Frazer Stirling, Community Centre, Newton Aycliffe, thesis presentation: perspectives
20 The Architecture of James Stirling and His Partners James Gowan and Michael Wilford 1 James Stirling’s Formative Years ------21 , where the the where , Pavillon Suisse Pavillon Temps Temps erected Pavilion Nouveau breakfast room contrasts with the slab slab the with contrasts room breakfast of block rooms. student ier’s Exhibition International Paris the for used structure oflightweight This 1937. canvas a support ofto pylons system a roof. ev early This (1974–84). vard University envisage to capacity of idence Stirling’s prob architectural to solutions generic as career, his throughout evident lems is will be concept a again, and time time ‘mine the of is this Typical reworked. Russell Bevington, in conversation with with Russell conversation Bevington, in 1998. August author, the Corbus Le to similarity a also is There the used in later was stratagem This Education of Further College Poole for entry and also (1952) competition Har at Museum M. Sackler Arthur the This was a common approach to this this to approach common a was This being ofprecursor Le one sort problem, Corbusier’s ies’, in fact it is ‘a competing work of art’. of art’. work competing in fact it is ‘a ies’, displeas his express on to goes Stirling placing of art the at Beuys Joseph ure spoiled This Stirling’s room. corner a in galleries. vistas in the axial intended this on insisted Beuys how Explaining (Stir he that retorts Stirling placement, him. to way given ling) would have not as he comments vitriolic these makes He they think ‘I saying exhibit, Beuys passes garbage’. all this up clear should Blackwood’s television documentary documentary television Blackwood’s entrance the lift in the describes Stirling ‘better is that toy’ mechanized ‘a as foyer galler the in works of art than the many
21 23 22 20 - - - He describes how ‘the move from that that from move ‘the how describes He car somehow which abstraction sparse association ofried a maximum emotive ofthe with classicism up the break to of and natu- realism incoming language circumstance fascinating a was ralism - archi with I which think parallels has today’. tecture the by acquired was archive In 2001 the is and Architecture for Centre Canadian Quebec. Montreal, housed in now Octo author, with the conversation In 1999. ber Real Steiner, G. Presences: Is there - any and Faber, say? Faber we in what thing London, 12. 1989, description. architects’ The Big Girouard, Mark Jim: The Life and and - Win , Stirling Chatto James of Work London, 38. dus, 1998, with Russell conversation Bevington, in 1998. August author, the cit., 229. op. Steiner, Ibid., 225. Ibid., 227. with the conversation Mary Stirling, in 1998. August author, Stirling nev that us reminds sketch The Cornell’s box’. the inside ‘stay to liked er (1983– Arts Performing the for Center fan- a as seen be may at Ithaca, 1988) with hill an town Italian tasy based on ‘ba- twin ‘baptistery’, ‘campanile’, its and There loggia. small ‘piazza’ silicas’, to approach Stirling’s in levity much is at Staatsgalerie Neue the subject; his considerable with serious, is Stuttgart playful. In Michael and also gravitas,
9 10 11 12 13 14 15 16 17 18 19
------September 1980, 36. 1980, September , 36. Journal RIBA es British Art and the - Mediterra t , Oxford University Press, 1948. Press, University , Oxford programme for the BBC, 1987. the for programme teenth century particularly interesting. interesting. particularly century teenth In his address, Stirling explained that he he that explained Stirling address, his In Neo-classical from transition the found nine of half the first the in Romantic to - Ad Medal Gold Royal Stirling, James cit., op. dress, ber 1999. ber - Architec for Gold Medal Royal the ing Journal, RIBA ture, kower’s nean work later Stirling’s and 49. Ibid., 81–82 inter inventive its in free very became an extent large a to and was pretations are of there mass. Indirectly architecture and Hawksmoor. ofechoes Vanbrugh well also is (1701–36) Howard Castle book. format large this in illustrated cit., 36. - a op. BBC televi In Stirling, mentioned Stirling documentary sion ‘be Hawksmoor with fascination his history to attitude Hawksmoor’s cause Describing Hawksmoor’s modern’. was Christ Church at Spitalfields, he Gothic English an has ‘it that plains ex the whilst pieces, middle French Spire, collage’. a fact in Rome, from is bottom Stirling, James a film produced and di Omni- an Michael Blackwood, by rected bus In conversation with the author, Octo author, the with conversation In to Introduction Jacobus, J. from Quoted James Stirling: Buildings and Projects, 14. 1975, Press, University Oxford receiv on given address Stirling, James Witt and R. Saxi F. to Preface the From ndno
E 8 7 4 5 2 6 3 1 shaft’ gantry frame for the lift in the Olivetti HQ at Milton Keynes (1971), not used then as the project was aborted, but which re-appears in the Dusseldorf Mu- seum competition entry (1975) and was finally built at the Neue Staatsgalerie in Stuttgart. 24 Russell Bevington, in conversation with the author, August 1998. 25 This was one of Stirling’s discoveries in the United States during his visit there in 1948. For this information I am in- debted to Marc Girouard, Big Jim: The Life and Work of James Stirling, Chatto and Windus, London, 1998, 46. 26 Although Stirling was not impressed with the Pavilion Suisse (he had seen it during a summer vacation in 1950) Girouard op. cit., 47, he does not quarrel with its bay structure, his critique being that it has ‘little real innovation’. 27 John Jacobus, op. cit., 15.
22 The Architecture of James Stirling and His Partners James Gowan and Michael Wilford References
9 Function, Form and Meaning
THE CLASSICAL CANON THE FORUM AND SANCTUARY OF FORTUNA PRIMIGENIA, PRAENESTE. ROMAN, FIRST CENTURY BC (after F. Fasolo) OLD STATE GALLERY, STUTTGART 1938-43 PLAN ALTES MUSEUM BERLIN 1823-30: KARL FRIEDRICH SCHINKEL THE CLASSICAL CANON S t u t t g a r t A n a l y s i s STUTTGART IN 1794 CITY CORE ESTABLISHED FORMAL, AXIAL, STRONG SENSE OF ENCLOSURE MAIN ROUTES IN PLACE ORIGINS OF KONIGSTRASSE OPERA HOUSE CATHEDRAL ROYAL PALACE ALTES SCHLOSS MILITARY BARRACKS FORMAL GARDENS ORIGINS OF NECKARSTRASSE STUTTGART 1855 S t u t t g a r t A n a l y s i s S t u t t g a r t A n a l y s i s STUTTGART 1920 AXIALITY AND CLASSICAL ORDER THEME OF MONUMENTALITY ROYAL PALACE CATHEDRAL RAILWAY STATION ALTES SCHLOSS K O N I G S T R A S S E THEATRE GARDENS NECKARSTRASSE OPERA HOUSE OLD STATE GALLERY SCHLOSSPLATZ The prime characteristics of this effective city core are; a pronounced axiality that is softened by the subtle deployment of curves; bi-lateral symmetry; a balanced eclectic mix of styles and periods; lucid geometry, formal legibility that ensures clear identification of the various buildings; a dominant theme of classical monumentality with sub themes of enclosure and order; reliance on a dominant central nucleus (the Royal Palace) this generating axial relationships to surrounding spaces. Having set the tone for the heart of the city, this was maintained in buildings outside the central core such as the Old State Gallery, which also relies on enclosure, and the classical norms of legibility and lucid geometry, with well-defined axes modulated by the curved entry path. There is clear identification of entry within a theme of monumentality and order. This acceptance of a code of rules with variations on a theme produced successful cities all over Europe prior to Modernity. Stirling reverts back to this time-honoured approach with the Neue Staatsgalerie, observing all the characteristics evident in the city core but transforming them by selective degrees of emphasis. S t u t t g a r t A n a l y s i s STUTTGART 1920 Several factors conspired to change the conditions for the New State Gallery. Not only was it to be built during a period that had seen the emergence of modern architecture and the consequent demise of the Neo-classical, but it was on the hillside opposite the old city core and had been separated from it by a traffic scheme that enlarged Neckarstrasse so that it became the Konrad-Ardenauer Strasse. As seen in the 1965 map, a combination of Second World War destruction, including the loss of the barracks behind the Royal Palace, traffic engineering that made the city core an ‘island’, the abandonment of the axial theme on which the core had depended and a series of modern buildings alien to the spirit of the city, proved disastrous in diminishing the sense of monumental order and historical character. Typical of the period, it was decided to undertake a comprehensive redevelopment of the site alongside the Old State Gallery, with a cultural complex that included additional galleries, a music school and a theatre. A new parliament building was built alongside the opera house in a Miesian style that, again typically failed to establish links with adjacent buildings. S t u t t g a r t A n a l y s i s S t u t t g a r t A n a l y s i s The city’s growing concern at the alienation caused by post-war planning formed the basis of the competition for a new State Gallery, won by Stirling, Wilford and partners in 1977. The task facing the practice was considerable, being primarily one of healing the damage wrought by planners, and especially having to confront the separation from the cultural core induced by the ravine-like traffic artery that acted as a kind of defensive ‘moat’, isolating buildings on its eastern side. Stirling’s response was to counter fragmentation and isolation with a unified, concentrated grouping that maintained within itself the sense of enclosure, axiality and monumentality that had formerly characterized the city core. Despite its hillside location, the distancing inevitable with a six lane traffic highway, and its contemporary architectural language, the Neue Staatsgalerie retains the geometrical lucidity, sense of identity and presence of the Royal Residence, establishing a relationship with the classical theme of the old core by a judicious and powerful juxtaposition of forms, axes and routes. Its configuration also permitted a grander statement to emerge, when, in 1988, the architects were asked to develop the adjacent site as a music school and theatre academy. S t u t t g a r t A n a l y s i s PROGRAMME A new State Museum was required containing galleries, sculpture courts, an auditorium, a chamber theatre, library, music school and administration. The museum must connect with the Old State Museum, a public footpath was required connecting the upper hillside with the city centre and a large area for car parking was needed. SITE FORCES The site slopes down towards KonradArdenauer Strasse to the west. At its eastern edge the site abuts a well defined street of normal city scale. The hillside affords views across the valley towards the city centre and, in the distance, towards the Weissenhof Settlement. Le Corbusier’s apartment block and Maison Citrohan of 1929 are visible on the edge of this assemblage of works by leading modern architects of the twenties decade. As KonradArdenauer Strasse is, to quote Stirling ‘more an autobahn than a street’, the new State Gallery is seen in glimpses from passing cars, rather than as an object for studied contemplation (like the Old State Gallery). There is a marked contrast between the scale and ambience at the eastern and western edges of the site. SITE PLAN LATERAL SECTION STIRLING AND GERMANY It is no coincidence that Stirling reached the height of his powers during a decade that found him heavily involved in Germany. It is hard to imagine that he would have profited as well had the various competitions and projects undertaken between 1975 and 1986 been in the UK. The reasons for this are hard to define, but a residue of suspicion, not only of Stirling, but of modern architecture in general in Britain, may be part of the story. Germany had been decimated by the war, and going back as far as the Weissenhof settlement in Stuttgart, had been receptive to modernity in ways unthinkable in the United Kingdom. Berlin in particular has become a showcase for avant garde architects from all over the world, and Michael Wilford’s British Embassy has been built there. It would seem that the German love of the Neo-classical, nourished by Schinkel and, in modern guise, by Mies, created fertile conditions for Stirling to express the final classical stage of his work. Germany was for Stirling what Finland had been for Aalto. He could relate to its past and to its receptivity towards all things modern. The Germans are noted for their liking for efficiency and for their cultural awareness. Stirling’s thorough approach and his penchant for effective, well planned buildings may have been reciprocated. Somehow, Stirling managed to read Germany in ways that understood its traditions and mores. Of the Wissenschaftszentrum, Gerd Neumann, a German critic, wrote: S t u t t g a r t A n a l y s i s SKETCH BY JAMES STIRLING ‘The building… becomes, like 19th century Berlin, something of an enigmatic conjecture on the past, powerful because it characterises different institutes in different ways, disturbing for its nightmarish recollections, interesting for its urban spaces, and perplexing for its classical distortions.’ And the patronage of George Braun is hard to imagine in Britain. Where are the industrial giants aesthetically enlightened enough to want a pharmaceutical headquarters to be a major work of art? Stirling received tangible encouragement in Germany and eventually found a German companion, Marlies Hentrup, to share his life. THE FORUM AND SANCTUARY OF FORTUNA PRIMIGENIA, PRAENESTE. ROMAN, FIRST CENTURY BC (after F. Fasolo) OLD STATE GALLERY, STUTTGART 1938-43 PLAN ALTES MUSEUM BERLIN 1823-30: KARL FRIEDRICH SCHINKEL THE CLASSICAL CANON S t u t t g a r t A n a l y s i s Stuttgart: State Gallery and Chamber Theatre 1977–84 Russ Bevington recalls that at the beginning of the Stuttgart competition, Stirling had to leave for the United States to teach at Yale. He assigned a group to work on the project, which was to be ‘Dusseldorf Mark II’. 1 This was a familiar process in which a team would develop alternative solutions for discussion within the group and appraisal by Stirling and Wilford. As Robert Livesey described it ‘the office was a searching factory for an investigative architecture’. 2 And to quote Richard Portchmouth: Jim encouraged and requested his staff to lay design initiatives before him. As proposals were made, Jim assumed the role of orchestrator, descending upon drawings and red lining them - marking ticks and crosses indicating either approval or rejection and adding overlays of often radical and amusing design developments. Inevitably, alarmed that the proposals may not remain intact, covert counter measures would often be devised. This gamesmanship established a one-to-one relationship of design dialogue with Jim and created a frisson within the office. Equally significantly it gave Jim the possibility of signing the building, an opportunity that he would take with great delight. 3 Re-using an existing model was standard practice because Stirling and Wilford believed in the validity of their ideas. As with the classical system, certain forms had a special value and could appear in various guises. That Dusseldorf did not win its competition was irrelevant. It can now, in retrospect, be seen as the laboratory in which the Stuttgart strategy was conceived. The sensitivity to context, to the particular character of the city, to movement in and through the building, and the conviction as to what kind of monument would best serve a gallery, had all been thoroughly worked out at Dusseldorf and remained worthwhile. Very worthwhile as it turned out. Surviving sketches are incomplete, undated and were done by various members of the team. It is not possible to identify the conceptual evolution, but the input of individuals and the progression of ideas can be deduced in general terms. An early sketch (A) by Russ Bevington appears to be seminal in outlining the entire premise on which the design would be based. A square is drawn (left centre) with the drum in the middle, divided into four quadrants by axes. At the bottom, the sides are splayed indicating a raised terrace centrally; an axis determines what could be an entry point that projects forward and a curved extension leading to what appears to be a bridge. The other axis defines what seems to be a route possibly connecting with the Old State Gallery, and a diagonal route is sketched in from top left to bottom right. The upper quadrants are labelled A and L. To the immediate right, a 3-D sketch roughs out the massing with a section drawn above. Centre top shows the drum with columns inside a route and four connections on axis. Top left are sketches with possibly a square plan and projecting entry piece; a section showing the drum; a cruciform wiggle and a small square punctured by a line. Bottom left enlarges the section with what could be windows rising around the drum (also in the tiny section (top left). There are twin vertical elements on either side of the drum and the lower portion is shaded in (car parking?). An arch is drawn to the right, a wavy form to its right, and a drum with ‘sun burst’ connections leading to a perimeter route. At the bottom, a small sketch shows the drum with three axial connections and one diagonal. S t u t t g a r t A n a l y s i s All the key ideas are present, to be modified and refined-but not changed. There is a certain inevitability about this as the very act of placing a circular drum in a square format predetermines axial implications and route possibilities. A frontal terrace and projecting entry with a division into quadrants to left and right is an obvious stratagem. A connection with the existing gallery was needed (and sketched in its final shape and where it would take place) and a route across the site would conveniently go from left to right. The presence of an entrance arch fits the general ‘classical’ ambience of this approach and the drum was, ultimately to be entered through an arch. That all this came about by reworking Dusseldorf, and that the final solution would emerge from Bevington’s early sketch shows the affinity between the competitions for Dusseldorf and Stuttgart. The same approach worked for each, Stuttgart having the additional opportunity afforded by a sloping site. A later sketch by Bevington (B) approximates to the site boundaries, allocating the galleries to an enclosing mass (top left). Now the drum is placed close to its final relationship with the galleries, accessed axially and with a projection to the rear. A route through the drum goes below the galleries (stairs and a lift allowing this to happen). Significantly a wavy shaped foyer provides entry (having a small shape with a cross-revolving door?) and a ramp is placed at its opposite end with a lift alongside. Rectangular spaces to left and right are labelled lect and chag (lecture theatre and changing exhibition) and a route connects the lecture theatre with the drum. A 3-D sketch (centre) explores the route with external and internal ramps. The plan (bottom left) shows a diagonal route into the drum, the external ramp, a pair of columns at the entry to the drum (also in the first plan). A route snakes into the changing exhibition gallery (as it had done at Dusseldorf) and a space is defined for what may be the beginnings of the restaurant at this edge of the complex. Its inclined shape was to be used (the opposite way) for the entrance foyer to the chamber theatre. Staff rooms are drawn to the left. Both plans show a mass enclosing the southern edge. Sections show the drum, sunk, and with a route incised at each side, and the passages from lecture room and changing exhibition to the drum are drawn in. Below this a section is taken laterally across the site, and below this is an elevational drawing of the outer ramp. A B With two pages of exploratory sketches it seems that Bevington anticipated the essence of the design. Subsequent remaining sketches, by himself and others, juggle the parts, but do not depart from these proposals. One such (C, by Bevington) changes the lecture theatre to the right (its final position) with changing exhibition to the left, where it would remain. The external ramp towards the drum has a dotted line showing the form on the interior. Toilets are placed to the right and the splay of the ramp continues towards a space entered through twin revolving doors. Ramps lead up and down to galleries (as in the final solution). The foyer has a wavy edge and a projecting canopy, Again, the final design is here in embryo. A further development by Bevington (sketch D) looks into the tricky question of how to move from circulation inside the drum to the galleries above, with alternative arrangements of the stairs and lift. A small 3-D sketch shows inner and outer ramps. These ideas are explored further by Bevington (sketch E) with a form very close to the final shape of the entrance foyer and a small circle adjacent to the drum supported by two columns. Inner and outer ramps remain and in a lower plan the ramp to the right is shown as having a curved landing. In a further group of sketches (F) Bevington, following the office method, plays with different arrangements of the foregoing, introducing some variations and further developing the main ideas, In these studies the lecture theatre is on the right (top left) and right (fourth and fifth sketches down on the left). Columns are shown on the gallery terrace (second and fifth sketches down on the right). The shape finally adopted for entry to the foyer is tried facing opposite directions along with a wavy line and the snake-like form used at Dusseldorf. In these sketches the route from the east into the drum appears close to the final disposition in the second sketch down on C E D S t u t t g a r t A n a l y s i s the right. Immediately below, a sketch takes this route round the drum on its northern side (the final position). At the bottom centre, a sketch shows steps up alongside the internal ramp leading to the galleries with what may be a lift to the galleries, The third sketch down on the left shows a major entry to the drum. A series of sketches by Stirling (sketches G, H and I) explore similar ideas to those drawn by Bevington. It is impossible to know which came first and they may have occurred simultaneously. Describing Stirling’s involvement in this and other projects, Bevington explains: He was an inspiring leader with his caring and loving devotion to architecture ... Jim was not the man of the myths but a shy, thoughtful and very private person, as demanding of himself as those around him. 4 Describing Stirling’s contribution to the early German competitions, Bevington describes how: Jim spent considerable time at the drawing board with each of us or working on a separate board beside us, always intimately involved with every aspect of the design. 5 In a series of plans (sketch G) Stirling looks into the way the ramp ascends round the drum (top left and middle). The topmost of this group defines the sculpture terrace with walls on its western edge, A tunnel is shown as the route exits to the east and ramps to the drum and the galleries are drawn in. Immediately to the right of this sketch and above the large plan are several sketches of the drum. In the first sketch we see foliage from a planter and windows inside the drum. To its right we see the planter drawn in section. Alongside, a 3-D sketch shows a planter at the edge of the ramp. F In two adjacent sketches, masonry cladding is shown to the drum. All these sketches explore the edge of the ramp, this being shown as containing a trough for a planter. Above and to the right of these sketches (top right), a wedge shape is tried for the galleries, Stirling focusing on the type of enclosure envisioned for the sculpture terrace. The general direction of the route seems fixed, but with some uncertainty as to which side of the drum should be traversed. Two small sections (bottom left) show the terrace, car park and massing on the slope. They each show trees planted at the edge of the terrace (also shown in plan, bottom sketch). Immediately above this group, a 3-D sketch shows the ramp emerging from an arch before ascending round the drum. Second from bottom right, Stirling shows the wavy glazed foyer for the first time, this rising above the adjacent roof. Two sketches (third and fourth down on the left) and the large plan to their right show the zig-zag arrangement to the south that was finally adopted. In all these plans the southern end of the terrace is defined by a mass. The largest plan shows a stair ascending from the drum to the upper terrace. Immediately to the right, another sketch shows these stairs in section, steep, as they were to be in the built design. The ramp is shown in this sketch, with a very thick wall for the drum, this containing a planter. Immediately above is a section through the G S t u t t g a r t A n a l y s i s entrance hall, shown connected to the drum. A tunnel is shown (centre bottom) leading towards a ramp (dotted) that may be the southern entry to the terrace. Above this the drum is shown in 3-D and in a section to the right. If several main ideas had been sketched in by Bevington, Stirling pursues these in detail as the essential constituents of the design are worked out. There are over 30 drawings on this small sheet, evidence of Stirling’s creative surge as the concept falls into place. In the largest of the plans (middle and left of centre) the final design is there, with two terraces and a ramp cutting into the drum and emerging in the street to the east. In fact, the ramp and stairs were to rise on the opposite side to that shown, and we feel that Stirling is now ‘seeing’ the final building, as a whole and in detail. A further page of sketches by Stirling (sketch H) were done apparently at about the same time and may have preceded those shown in sketch G. Noteworthy are the three diagrams above each other (centre bottom) in which the route is inscribed forcefully in black ink. To their right are elevations showing the ramps and below is a plan with the steps from the drum on its eastern side. Above, to the right, the steps are placed in their final position. H In several drawings to the left, columns are shown round the sculpture terrace and some sketches show columns around the drum. In sketches (top left and below) Stirling explores the connection from the route and other levels by drawing in a lift and stairs. He draws a wavy line for the building that concludes the composition to the north, this to occur in the final design. The small detailed plan (top right) shows what may be a curved seat on the outside of the entrance hall. Adjacent to the drum, to its left, is what may be a circle, later to be the circular information/ bookstall desk in the entry zone. Another group of sketches by Stirling drawn more delicately show (sketch I) show the lecture theatre at an angle and (lower left) a small plan shows a connection to the Old State Gallery. An important sketch shows the drum pushing into the galleries (centre top, second drawing down). Several words are written (middle left) which seem to be Rhetoric ?, Smithson, Rationality, Cullinen, Victorian invention quotation, FL W, end of conversation. A further sketch (J) dots in the junction of the drum and the galleries as Stirling links the sculpture terraces on each side by a compressed space. This very sketchy drawing therefore contains one of the most important spatial concepts in the design. In sketch K, Stirling draws four alternatives for the aedicule that signals entry from the footpath on Konrad Ardenauer Strasse. Top left shows the undulating roof eventually adopted for the canopy next to the entry foyer. Sketches preserved in the archive by Ulrich Schaad (L) and (M) tryout alternative arrangements. In the top centre plan the Dusseldorf origins of the concept are apparent and to the right, a 3-D sketch shows the general layout on the slope, with a connection from the Old State Gallery becoming a curve that projects onto the sculpture terrace. In sketch M, Schaad explores the entry foyer condition, showing the lecture theatre as a splayed form to the right of the drum. Two sketches by Russ Bevington (N and 0) look into the foyer/drum/lecture room layout in detail, each showing the ramps up and down to the galleries. In the centre of sketch O, Bevington draws a series of columns around the inside of the foyer, this having been shown on sketch N. The stair up to the galleries on the northern side of the foyer is also shown on sketch N, with the ramp up to the south side of the foyer clearly evident. Steps are shown from the temporary exhibition gallery into the drum with four columns centrally placed on steps into the lecture theatre. Sketch O explores this to a larger scale, the columns seem to be supporting a projection box. I S t u t t g a r t A n a l y s i s Insufficient to confirm an exact sequence or how decisions were taken, these surviving drawings are, nevertheless, a clear record of the way a design concept evolves in the Stirling Wilford office. Deliberately, the process is kept fluid with ‘loose’ drawings so that all kinds of alternatives can be explored. Once the main strategy is established, the architects, guided by Stirling, ‘feel’ their way forward, with, as always, the act of rejection of the unsuitable being as important as the selection of ideas that work. The sketches are kept small so that the relationship of elements can be easily understood. J K L Musings by Stirling (his sketches of foliage around the drum, or his depiction of trees at the edge of the entry terrace) give clues about how he intended to soften the form and give some protection from the noise and pollution coming from Konrad Ardenauer Strasse. This handful of surviving sketches cannot possibly convey the vast enquiry that took place during the conception of the Staatsgalerie. It can only give a glimpse of an enthralling process. It is not difficult to imagine this dedicated group of architects, fired by the vision of a remarkable building, working with passionate intensity as they thrashed out the solution. Nor is it difficult to sense a certain excitement as the concept takes shape, with drawings, not words. As Walter Nageli points out: Nothing could convince Stirling of an architectural proposition but a proper drawing. Words did not mean much. Everything in a design had to be drawn many times in many variations. If you wanted to “sell” something to Stirling you had to draw it a certain way. This meant usually well balanced “hard line” drawings, isometrics or axonometrics, sometimes perspectives. Stirling chose from the variations we presented or asked for more ... the drawings provided a neutral basis on which to form an opinion, often leading to something new and unexpected. 6 For the team, the Staatsgalerie was a particularly memorable experience. As Russ Bevington recalls: ‘everything came together in the Staatsgalerie, the built and triumphal culmination of a sequence of ideas that represent the close working relationship we had throughout that marvelous project.’ 7 M N S t u t t g a r t A n a l y s i s 1 These were Stirling’s instructions. Russell Bevington in conversation with the author, 6th April 2000. 2 Robert Livesey describing what it was like to be in the Stirling Wilford office: Architectural Review, December 1992, 69. 3 This quotation is attributed to Andrew Birds, Richard Portchmouth and Michael Russum, ibid., 70. 4 Russell Bevington, ibid., 69. 5 Russell Bevington, ibid., 69. 6 Walter Nageli, ibid., 70. 7 Russell Bevington, ibid., 69. O ORIGINS INFLUENCE OF SLOPE SLOPE INDUCES FRONTAL CONDITION LONGITUDINAL AXIS PULLED BACK GENERIC CONDITION SITE FORMS RECTILINEAR VOLUME EQUAL AXES SLOPE ENGAGED WITH PLATFORMS. THESE ALIGN WITH SIGNIFICANT POINTS ON OLD STATE GALLERY HEIGHT OF NEW GALLERIES SAME AS OLD. S t u t t g a r t A n a l y s i s DEVELOPMENT DRUM SUNK INTO HILLSIDEPHYSICAL CONNECTIONS BETWEEN OLD AND NEW GALLERIES TREES REDUCE EXPRESSWAY NOISE ROUTE THROUGH DRUM AND BETWEEN GALLERIES–DRUM LOCKS INTO GALLERIES. ENTRANCE HALL AND ACCESS FROM LOWER LEVEL RAMP LEADS TO DRUM AND BISECTS GALLERIES. CIRCULAR INFORMATION ‘TEMPIETTO’. RAMP UP TO GALLERIES–RESTAURANT BAY FACES TERRACE–EROSION OF SOUTH-EAST CORNER. S t u t t g a r t A n a l y s i s SOUTHERN ENTRY TO LOWER TERRACE THROUGH VAULTED OPENING CONTAINING AN ENTRANCE TO THE CHAMBER THEATRE. RAMP DOWN TO CAR PARK BELOW In this compact solution, a temenos zone is created at the upper level onto which the galleries are placed. They are arranged to enclose both the space and the rotunda, which is locked into them centrally. The implied frontality of this concept is furthered by setting the upper level back so that a lower level may be enclosed by the existing gallery and by the Chamber Theatre. An entry takes place to the lower terrace by forming a vaulted ‘tunnel’ below the rehearsal room that abuts the Chamber Theatre. Finally, the lowest zone at street level ties old and new together with a through route, this zone becoming a boulevarde, with a bank of trees that protect the complex from the chasm in front of the site. 2 Christian Norberg-Schulz, Genius Loci: Towards a Phenomenology of Architecture, New York, 1980, p 10 3 Kevin Lynch, defined the concepts of ‘node’ (‘landmark’), ‘path.’ ‘edge’ and ‘district’ to denote those elements which form the basis of man’s orientation in space. K Lynch, The Image of the City, Cambridge, Mass., 1960. PLAN AT ENTRY LEVEL 1) entrance terrace 2) entrance hall 3) information desk 4) sculpture court in base of drum 5) temporary exhibitions 6) lecture theatre 7) restaurant 8) Kammertheater foyer S t u t t g a r t A n a l y s i s PLAN AT GALLERY LEVEL 9) galleries 10) Kammertheatre 11) music school 12) library 13) gallery 14) link to Old State Gallery 15) upper terrace ELEVATION S t u t t g a r t A n a l y s i s LATERAL SECTION LONGITUDINAL SECTION PROMENADE ARCHITECTURALE The promenade architecturale surges across the complex in a magical mystery tour that resonates with memories of city structuring. In this scenario associations are transformed and decoded so that, for example, the traditional rotunda acts not as a point of culmination (as in the Pantheon or in Schinkel’s Altes Museum) but as a dynamic participant in an elaborate dialogue between inside and outside and between an ideal and reality. The diagonal route across the site is enshrined in Stirling’s conceptual sketch. The route is vigorously inscribed, transforming a static ensemble into vibrant activity, and in the process ensuring several dual readings. By having contact with, but no access to, the central court, the route increases both the readings of finality and transcience and the tension between immutable permanence and rotation. These oppositions extend to the enclosing gallery ranges, fractured into two separate pieces externally, though linked internally as the route punches between them. The route also makes explicit the two complementary but distinct worlds in the complex, one internal and concealed, the other external and exposed. The external promenade proclaims the connection between the earth and the sky, its stratified acropolis receiving the elements, and of necessity, locking with the hillside and the city to which it belongs. The interior by contrast is a protected labyrinth that brings us close to the earth, this being manifest in the drum itself, where exterior and interior belong to each other. The massing is that of a fortress – there are no façades, and the travertine and marble cladding resembles masonry yet is a thin veneer to a reinforced concrete structure. Access to the Staatsgalerie begins at street level where an elegant steel and glass aedicule marks the lateral axis of the complex. To the left, a ramp prioritizes the route towards the entry pavilion whilst steps lead in the direction of the ramp leading to the rotunda. On the lower terrace the entry pavilion is given a clear identity by its contrasting shape, membrane and colour. The twisting wall of glass (a transformation of Le Corbusier’s sanctuary at La Tourette) acts as a scoop or net to trawl the visitor, its glass wall offering glimpses of the promised land; while resting on the lower terrace it is locked into and participates in the upper level, its outer wave deferring (as does the ramp opposite) to the lateral axis. Like the entry to the Cambridge History Faculty building the entrance is carefully signalled with an expanding oblique echelon of glazed canopies that are hung from a neighbouring vertical plane. At Cambridge this ‘sculptural composite’ is in brick, contrasting with the adjacent wall of glass. At Stuttgart, the canopy restates the high tech of the entrance aedicule, reversing the traditional masonry entrance. S t u t t g a r t A n a l y s i s S t u t t g a r t A n a l y s i s INTERNAL ROUTES AUDITORIUM Behind the counter the cloaks space is defined by the underside of the external ramp and the centre of the space is punctuated by a concrete column whose squatness and flat bearing slab have Egyptian resonances. Stirling ensures that this somewhat surreal column dominates the space, its iconographic presence confirming the quintessential loadbearing role of the column throughout history. 1 The column supports the internal ramp up to the galleries and separates movement towards either the auditorium or the galleries. The ascending ramps are attached to a central vertical plane, part of which is removed so that it both divides and links the foyer and the auditorium. Priority is given to the route towards the galleries by the flood of light that descends on the lift and its gantry frame. This transformation of a colliery structure evokes memories of the industrial landscape of Victorian England, draws on its origins in the Olivetti project of 1971, and alludes to High-Tech (even if its colouring is decidedly Stirling). Stairs and a ramp lead up to this space and the oblique arms supporting the lift enframe an entrance to the restaurant. The gantry is enclosed by a swirling glazed membrane that celebrates the act of ascent and concludes the foyer space. Its shape and colour echo the entry pavilion, and from this arrival point, the galleries begin. 1 For Stirling, the column is a repository of meaning, having a significance comparable to its role in Classical architecture. His columnar transformations allude to specific conditions in the same way that the choice of Doric, Ionic, Corinthian or Composite conveyed particular meanings. CONCEPT SKETCHES BY ULRICH AND PETER SCHAAD S t u t t g a r t A n a l y s i s UP AXONOMETRIC SHOWING LIFT, GANTRY AND RAMP AS SCULPTURAL COMPOSITE VIEW TOWARDS LIFT (RIGHT) AND AUDITORIUM (LEFT) RAMPS DEFINE INTERNAL AND EXTERNAL SPACE SIMULTANEOUSLY An alternative route sets up an opposite scenario to the ascent through the foyer. This descent leads left from the Entrance Hall down a ramp that is an internalized reversal of the oblique external ramp. Movement down this ramp is heralded by the architectural equivalent of a musical fanfare as a descending procession of four large display containers begin the progression. These are majestically enframed with a depth into the wall that enhances their physical presence. At the end of the ramp, a U turn gives access to a ‘Hypostyle Hall’ temporary exhibition gallery, centrally placed on the longitudinal axis. The first row of columns occur at a point where a continuous beam supports the gallery wall above. The change in level above from galleries to sculpture terrace is reflected on its underside by a change in the ceiling level. The ‘Johnson Wax’ mushroom columns have their mushroom capitals half in and half out of this break in the ceiling, further exploited by a raise in the ventilation ducts that charge across the space like stiff grey snakes. On axis, the route continues either into the drum or to the left, in a ramped ascent to the galleries illuminated by a Palladian rhythm of arcuated windows. ROUTES TO TEMPORARY EXHIBITION GALLERY AND AUDITORIUM AIR CONDITIONING DUCTS ALTERNATIVE ROUTE S t u t t g a r t A n a l y s i s LONGITUDINAL SECTION THROUGH THE COURTYARD DETAIL OF JUNCTION BETWEEN GALLERIES AND COURT THE DRUM The rotunda, screwed into the ground, becomes the eternal heart of the city of memories, whose role is in part defined by the routes that traverse it. Its circularity is reinforced by the ramp that ascends round one side. This route enters the drum at its mid point, piercing its volume like a knitting needle through a ball of wool, the straight/curved/straight path decisively accentuating the axis. Before entering the rotunda, this processional route is compressed, and at each end turns twice at right angles, as it breaks into the drum at either side. Entry from the terrace is through an arch. The route exits through a confined alley. Despite rising (falling) around the drum, this is part of a gentle ascent/descent, begun (or concluded) with the shallow ramp from (or to) the lower terrace. By contrast, this meander is countered within the drum by a route at right angles that affirms the longitudinal axis, and penetrates each floor plane as stairs ascend/descend through the floors of the drum and upper terrace. At the level of the floor of the drum, entry to the underworld is through a classical gateway, depressed so that it and the stairs appear to be sinking. It is an operatic gesture through which a heroine or an entire chorus could disappear forever as the orchestra beats out its final tragic chords. Conversly the steep ‘Mayan’ stairs opposite are an ascent to paradise – a stairway to the stars that takes us to the higher plane of artistic treasures. S t u t t g a r t A n a l y s i s That all this takes place within a creeper-clad ‘ruin’ only heightens the allegory. It is meaning piled upon meaning, drama upon drama, enclosed, intimate, grand, an unusually complex receptacle for myth and nostalgia that is at the same time figuratively very precise. It is a cylindrical focus where the two main axes meet. In this sense, as in Schinkel’s Altes Museum, it is a Pantheon, an idyllic centre of cosmic harmony. If the lower terrace is informal, with its restaurant and umbrellas signifying relaxation within the city, the upper terrace is the opposite, a contained, formal space defined by the classical format of its enclosing palazzo. An Egyptian cornice makes the point, absent where its ranges face the lower terrace, but inflecting inwards to further the enclosing role of the palazzo at the upper level. The enclosure is pierced by the rotunda, setting up a dramatic confrontation between the orthogonal format and its central cylinder. The massive, curved wall directs movement around it but is pierced at several points to reveal that it is a void, into which the floor plane of the upper terrace has fallen. Access to the galleries from the upper terrace is through tall French doors with the kind of aristocratic overtones that suggest they should be opened and closed by bewigged uniformed footmen. Those doors, symmetrically disposed (with one exception) 1 in creeper covered walls, lead to a procession of cellular gallery rooms also symmetrically disposed with an enfilade of openings down the centre. The centrality of the drum divides the upper terrace in two. Where it locks into the galleries, a confined curved space leads to the galleries (on axis) and through to the opposite court. Negotiating this route involves passing under the bridge leading out of the drum. This ‘sculptural composite’ extracts maximum experimental richness from a simple functional deployment, a stratagem evident throughout the concept. Compression and release is also apparent at the front end of the terrace where the close abutment of drum and external ramp to the galleries creates a tight turn before walking out to the terrace edge. On moving round the hemispherical landing to the ramp, an opening in the drum provides visual release with a view of its interior. This is immediately followed, on the terrace, with a sweeping view of the city, a telling confirmation of the inherent internal/external mode throughout this city within a city. 1 This permits an intriguing view of the opening in the side of the drum through which the terrace’s escape stair rises to the ramp above. The rules Stirling uses can always be broken. S t u t t g a r t A n a l y s i s VIEWED FROM THE NORTH, THE ADMIN/LIBRARY BLOCK IS READ AS TWO PLANES. FROM THE WEST IT READS AS MASS SKETCH BY JS A SERIES OF SETBACKS ACKNOWLEDGE THE OBLIQUE ROUTE THROUGH THE COMPLEX URBANSTRASSE S t u t t g a r t A n a l y s i s ‘THE EXTERIOR RESULTS FROM THE INTERIOR’ Le Corbusier S t u t t g a r t A n a l y s i s JS doodle showing how a visitor might wander through the galleries In a typically concise summary, Stirling explains his convictions: ‘For many architects working with the abstract vocabulary of modern architecture - Bauhaus, International Style, call it what you will, this language has become repetitive, simplistic and too narrowly confining and I, for one, welcome the passing of the revolutionary phase of the Modern Movement. I think the mainstream of architecture is usually evolutionary and, though revolutions do occur along the way (and the Modern Movement was certainly one) nevertheless revolutions are minority occasions. Today we can look back and again regard the whole of architectural history as our background including, most certainly, the Modern Movement – High Tech and all. Architects have always looked back in order to move forward and we should, like painters, musicians and sculptors, be able to include “Representational” as well as “Abstract” elements in our art … So, freed from the burden of utopia but with increased responsibility, particularly in the civic realm, we look to a more liberal future producing work perhaps richer in memory and association in the continuing evolution of a radical Architecture. In addition to Representational and Abstract, the Staatsgalerie I hope supports the Monumental and Informal; and the Traditional and High Tech.’ 1 1 James Stirling ‘The monumentally informal’ talk given at Staatsgalerie opening, December 1983. This part of the talk was first given at the Rice School of Architecture, USA in 1979. UP VIEW OF THE ENTRANCE HALL WITH INFORMATION DESK(SMALL COGWHEEL) AND ROTUNDA (LARGE COGWHEEL) SKETCHES OF INFORMATION DESK