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The Making of the Sainsbury Centre the Making of the Sainsbury Centre
The Making of the Sainsbury Centre The Making of the Sainsbury Centre Edited by Jane Pavitt and Abraham Thomas 2 This publication accompanies the exhibition: Unless otherwise stated, all dates of built projects SUPERSTRUCTURES: The New Architecture refer to their date of completion. 1960–1990 Sainsbury Centre for Visual Arts Building credits run in the order of architect followed 24 March–2 September 2018 by structural engineer. First published in Great Britain by Sainsbury Centre for Visual Arts Norwich Research Park University of East Anglia Norwich, NR4 7TJ scva.ac.uk © Sainsbury Centre for Visual Arts, University of East Anglia, 2018 The moral rights of the authors have been asserted. All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher. British Library Cataloguing-in-Publication Data. A catalogue record is available from the British Library. ISBN 978 0946 009732 Exhibition Curators: Jane Pavitt and Abraham Thomas Book Design: Johnson Design Book Project Editor: Rachel Giles Project Curator: Monserrat Pis Marcos Printed and bound in the UK by Pureprint Group First edition 10 9 8 7 6 5 4 3 2 1 Superstructure The Making of the Sainsbury Centre for Visual Arts Contents Foreword David Sainsbury 9 Superstructures: The New Architecture 1960–1990 12 Jane Pavitt and Abraham Thomas Introduction 13 The making of the Sainsbury Centre 16 The idea of High Tech 20 Three early projects 21 The engineering tradition 24 Technology transfer and the ‘Kit of Parts’ 32 Utopias and megastructures 39 The corporate ideal 46 Conclusion 50 Side-slipping the Seventies Jonathan Glancey 57 Under Construction: Building the Sainsbury Centre 72 Bibliography 110 Acknowledgements 111 Photographic credits 112 6 Fo reword David Sainsbury Opposite. -
On the First Pop Age
hal foster ON THE FIRST POP AGE n epic poem of early Pop by the architects Alison and Peter Smithson, in an essay published in November 1956, Athree months after the landmark Independent Group exhibition ‘This is Tomorrow’ opens at the Whitechapel Gallery: ‘Gropius wrote a book on grain silos, Le Corbusier one on aeroplanes, and Charlotte Perriand brought a new object to the office every morning; but today we collect ads.’ Forget that Gropius, Corbusier and Perriand were also media-savvy; the point is polemical: they, the protagonists of modernist design, were cued by functional structures, vehicles, things, but we, the celebrants of Pop culture, look to ‘the throw- away object and the pop-package’ for our models. This is done partly in delight, the Smithsons suggest, and partly in desperation: ‘Today we are being edged out of our traditional role by the new phenomenon of the popular arts—advertising . We must somehow get the measure of this intervention if we are to match its powerful and exciting impulses with our own.’1 Others in the IG, Reyner Banham and Richard Hamilton above all, share this urgency. 1 Who are the prophets of this epic shift? The first we to ‘collect ads’ is Eduardo Paolozzi, who calls the collages made from his collection ‘Bunk’ (an ambivalent homage to Henry Ford?). Although this ‘pinboard aesthetic’ is also practised by Nigel Henderson, William Turnbull and John McHale, it is Paolozzi who, one night in April 1952, projects his ads, maga zine clippings, postcards and diagrams at the Institute of Contemporary Arts, in a demonstration that underwrites the distinctive method of the IG, an anti-hierarchical juxtaposition of archival images disparate, connected, or both at once. -
Architectural Theory Review Reyner Banham
This article was downloaded by: [Langevin, Jared] On: 29 April 2011 Access details: Access Details: [subscription number 937057469] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Architectural Theory Review Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t781137234 Reyner Banham Jared Langevin Online publication date: 29 April 2011 To cite this Article Langevin, Jared(2011) 'Reyner Banham', Architectural Theory Review, 16: 1, 2 — 21 To link to this Article: DOI: 10.1080/13264826.2011.560389 URL: http://dx.doi.org/10.1080/13264826.2011.560389 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly -
LAWRENCE ALLOWAY Pedagogy, Practice, and the Recognition of Audience, 1948-1959
LAWRENCE ALLOWAY Pedagogy, Practice, and the Recognition of Audience, 1948-1959 In the annals of art history, and within canonical accounts of the Independent Group (IG), Lawrence Alloway's importance as a writer and art critic is generally attributed to two achievements: his role in identifying the emergence of pop art and his conceptualization of and advocacy for cultural pluralism under the banner of a "popular-art-fine-art continuum:' While the phrase "cultural continuum" first appeared in print in 1955 in an article by Alloway's close friend and collaborator the artist John McHale, Alloway himself had introduced it the year before during a lecture called "The Human Image" in one of the IG's sessions titled ''.Aesthetic Problems of Contemporary Art:' 1 Using Francis Bacon's synthesis of imagery from both fine art and pop art (by which Alloway meant popular culture) sources as evidence that a "fine art-popular art continuum now eXists;' Alloway continued to develop and refine his thinking about the nature and condition of this continuum in three subsequent teXts: "The Arts and the Mass Media" (1958), "The Long Front of Culture" (1959), and "Notes on Abstract Art and the Mass Media" (1960). In 1957, in a professionally early and strikingly confident account of his own aesthetic interests and motivations, Alloway highlighted two particular factors that led to the overlapping of his "consumption of popular art (industrialized, mass produced)" with his "consumption of fine art (unique, luXurious):' 3 First, for people of his generation who grew up interested in the visual arts, popular forms of mass media (newspapers, magazines, cinema, television) were part of everyday living rather than something eXceptional. -
Introduction
Introduction ALEX KITNICK “New Brutalism” remains a tricky term for the student of postwar art and architecture, both too specific and too general. On the one hand, it is associated with a small number of writings and projects carried out by a group of archi - tects, artists, and critics in 1950s London. Alison and Peter Smithson first used the term to describe a residential project in Soho that was to be characterized by a “warehouse” aesthetic and unfinished surfaces, and, in a famous 1955 essay, Reyner Banham wrote that the movement’s three primary characteristics were “Memorability as an Image,” “Clear exhibition of Structure,” and “Valuation of Material ‘as found.’” 1 Despite having been granted these attributes, however, or perhaps because of the way they lend themselves to both oversimplification (unfinished surfaces) and open-ended abstraction (“Memorability as an Image”), Brutalism is often employed today as nothing more than a vague epi - thet lobbed at vast expanses of postwar institutional building; its associations with art practice are, more frequently than not, left out entirely. The purpose of dedicating this issue to New Brutalism, then, is both to reconsider its theses and to reevaluate its work and writings, while at the same time amending and sup - plementing earlier histories of the moment, which have emphasized the pop aspects of the work. 2 In doing so, we hope to recapture something of New Brutalism’s latent critical potential. As Theo Crosby wrote in the January 1955 issue of Architectural Design , New Brutalism positioned itself against the “contemporary”—“its veneer of ‘modern’ 1. -
The Arts Council of Great Britain
A-YUAAt J`2 101" The Arts Council Twenty-ninth of Great Britain annual report and accounts year ended 31 March 1974 ARTS COUNCIL OF GREAT BR(fAMm REFERENCE ONLY DO NOT REAAOVE I j,FROM THE LIBRARY ISBN 0 7287 0036 0 Published by the Arts Council of Great Britai n 105 Piccadilly, London wIV oAu Designed and printed at Shenval Press, Englan d Text set in `Monotype' Times New Roman 327 and 334 Membership of the Council , Committees and Panels Council Committees of the Art Pane l Patrick Gibson (Chairman ) Exhibitions Sub-Committee Sir John Witt (Vice-Chairman ) Photography Committee The Marchioness of Anglesey Serpentine Gallery Committee Professor Harold C . Baldry Performance Art Committee The Lord Balfour of Burleigh Alan Bowness The following co-opted members serve on the Lady Casson Photography Committee : Colonel Sir William Crawshay, DSO, TD Michael Elliott Bill Gaskins The Viscount Esher, CBE Ron McCormic k The Lord Feather, CBE Professor Aaron Scharf Sir William Glock, CBE Pete Turner Stuart Hampshire Jeremy Hutchinson, Q c and the Performance Art Committee : J. W. Lambert, CBE, DsC Dr A. H. Marshall, CB E Gavin Henderso n James Morris Adrian Henri Neil Paterson Ted Littl e Professor Roy Shaw Roland Miller Peter Williams, OBE Drama Panel Art Panel J. W. Lambert, CBE, DsC (Chairman) The Viscount Esher, CBE (Chairman) Dr A. H. Marshall, CBE (Deputy Chairman) Alan Bowness (Deputy Chairman ) Ian B. Albery Miss Nancy Balfour, OBE Alfred Bradley Victor Burgi n Miss Susanna Capo n Michael Compton Peter Cheeseman Theo Crosby Professor Philip Collins Hubert Dalwood Miss Jane Edgeworth, MBE The Marquess of Dufferin and Av a Richard Findlater Dennis Farr Ian Giles William Feaver Bernard Gos s Patrick George Len Graham David Hockney G. -
Arch222 New Brutalism Ersan Ilktan Yagmur
ARCH222 HISTORY OF ARCHITECTURE II : Reyner Banham “The New Brutalism” 1966 Yağmur Bektaş- Ersan Ilktan Peter Reyner Banham, (born March 2, 1922, Norwich, England—died March 19, 1988, London, England), British architectural critic, historian and writer, known for his books Theory and Design in the First Machine Age (1960), Los Angeles: The Architecture of Four Ecologies (1971) and The New Brutalism, Architectural Press, (1966). ARCH222 HISTORY OF ARCHITECTURE REYNER BANHAM/ THE NEW BRUTALISM 1966 Peter Reyner Banham, (born March 2, 1922, Norwich, England—died March 19, 1988, London, England), British architectural critic, historian and writer, known for his books Theory and Design in the First Machine Age (1960), Los Angeles: The Architecture of Four Ecologies (1971) and The New Brutalism, Architectural Press, (1966). Banham saw much of the second world war when he was educated in the Norwich school. In Norwich he started writing reviews or the local paper and in 1949 he began to work in the Caurtauld Institute of Art, supervised by Nikolaus Pevsner. Later, Banham becomes a member of the Independent Group (IG), by the influence of the Smithson’s and the art exhibition “parallel of life and art” (1953), he publishes his book The New Brutalism in 1966. REYNER BANHAM 1 ARCH222 HISTORY OF ARCHITECTURE REYNER BANHAM/ THE NEW BRUTALISM 1966 Nikolaus Pevsner With the lead of Pevsner, Banham started studying the history of modern architecture, starting with Pevsner’s work Pioneers of the Modern Movement (1936). This book is important in terms of arranging a progress of “modern design” from William Morris, arts and crafts movement, to Walter Groupies and Bauhaus. -
Beyond Architecture 227
BEYOND ARCHITECTURE 227 Beyond Architecture: Technology, Freedom, and Play RENATA HEJDUK Arizona State University With apologies to the master, the house is close examination and comparison of the an appliance for carrying with you, the aforementioned practitioners is the idea of an city is a machine for plugging into. architecture that is itself mobile and/or transportable, or one that encourages the David Greene, Living Pod, 1966 mobility and freedom of the mind and body within its structures. The notion of "play" Given the recent interest in and enormous (Notes, 1) is often invoked in the amount of press given to architectural programmatic descriptions of these projects. environments that can move and be moved, The works discussed in this essay are mainly expand, plug-in, un-plug, tune in and turn on, theoretical, prototypical, or conceptual. this essay will provide a brief introduction to the cultural and philosophical framework that preceded and initiated this contemporary discussion. Themes of liberation and freedom were commonplace by the mid-1960s: the Civil Rights, Feminist, and Free-Speech Movements were only a few of the numerous peaceful (and not-so-peaceful) coalitions that formed under the banner of freedom. The historian Arthur Marwick notes that never before had society seen the development of such a large number of different subcultures all characterized by a trend toward freedom and permissiveness. (Fig. 1) This essay attempts to identify a line of thought that runs through the work of the British and European Radical Avant-garde of the 1960s and early 1970s. Archigram's groundbreaking magazine/ architectural telegram Archigram, particularly Figure 1. -
Biculturalism
BICULTURALISM IN ARCHITECTURAL PRACTICE Instigating change in social and professional environments as a way of creating situations for architectural practice James McAdam Doctor of Philosophy RMIT 2014 1 BICULTURALISM IN ARCHITECTURAL PRACTICE Instigating change in social and professional environments as a way of creating situations for architectural practice James McAdam A Dissertation submitted in fulfi lment of the requirements for the degree of Doctor of Philosophy School of Architecture & Design RMIT University August 2014 Acknowledgements I would like to thank Tanya Kalinina who for over 20 years has been a dedicated partner in life and in work, and has shared with me the experience of our practice together since our meeting in 1990. Th ese thanks extend to this research in which Tanya played a part as co-author of the works and on the common elements of this dissertation. I express gratitude to all those who have been involved with the practice, past and present, who have contributed to the architecture and resultant body of works. Particular thanks go to my children, Polina and Misha, for their patience during this concentrated process of research, and to my mother, Dr. Gloria McAdam who has advised on the writing of the dissertation. Finally I would express thanks to my doctoral supervisor, Professor Leon van Schaik who encouraged this process and was a source of great insight. Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the offi cial commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. -
Toward a Throw-Away Culture. Consumerism, 'Style Obsolescence' and Cultural Theory in the 1950S and 1960S Author(S): Nigel Whiteley Source: Oxford Art Journal, Vol
Toward a Throw-Away Culture. Consumerism, 'Style Obsolescence' and Cultural Theory in the 1950s and 1960s Author(s): Nigel Whiteley Source: Oxford Art Journal, Vol. 10, No. 2, The 60s (1987), pp. 3-27 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/1360444 Accessed: 01-09-2016 14:55 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Oxford Art Journal This content downloaded from 146.111.150.79 on Thu, 01 Sep 2016 14:55:14 UTC All use subject to http://about.jstor.org/terms Toward a Throw-Away Culture. Consumerism, 'Style Obsolescence' and Cultural Theory in the 1950s and 1960s NIGEL WHITELEY The 1960s are often thought of as the decade of guns and - a cause celbre - a pencil sharpener. In disposability. Expendability was indeed a central each case streamlining was, according to Sheldon aspect of much of the culture of the 1960s: it was and Martha Cheney in their 1936 book on Art and the both a physical fact of many products, and a symbol Machine, used as a language, 'as a sign and a symbol of belief in the modem age. -
Archigram: Architecture Inside Out
Archigram: Architecture Inside Out By Crystal Ray Submitted to the Department of Architecture in partial fulfillment of the requirements for the Degree of Bachelor of Science as recommended by the Department of Architecture at the Massachusetts Institute of Technology. June 2011. ©2011 Crystal Ray. All Rights Reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. () ( Author Crystal Ray Department of Architecture May 20, 2011 Certified by / / F lo Lawrence Sass Associate Professor of Computation Department of Architecture Accepted by Meejin Yoon Professor of Architecture Director o the Undergr duate Architecture Program MAPWSSAC6HUS ETTS IN S T I TUT OF TECHN-OLOGY JUN 10 2011 L RA R IES ARCHIVES Committee THESIS ADVISOR: Lawrence Sass Professor in Computation Department of Architecture Archigram: Architecture Inside Out By Crystal Ray Submitted to the Department of Architecture on May 20, 2011 in partial fulfillment of the requirements for the Degree of Bachelor of Science as recommended by the Department of Architecture at the Massachusetts Institute of Technology. Abstract Plug-in city has been explored by others through 3d renditions, however, their 3D rendition are subject to interpretation as its design and development progressed through modeling and a series of drawings by Peter Cook. With the foundational skills gained from Professor Nagakura's courses, I worked over the semester to model and animate one of Archigram's most notable works, Plug-in City, with a focus on the city's dynamic transportation system for people and goods. -
Magda and John Mchale Fellowship Peter Reyner Banham Fellowship
Magda and John McHale Fellowship Magda Cordell McHale (SUNY-Buffalo, 1978-99) and John McHale were participants in the London-based Independent Group who, after moving to America to work with Buckminster Fuller, went on to study the impact of emerging technologies on the future of human societies. In celebration of their diverse legacy that ranges from Pop Art to ecology, the McHale Fellowship is intended to foster an integration of teaching with creative activity and research. Candidates should propose an innovative project to be developed in tandem with a pedagogical agenda. Applications should be composed of a well-considered proposal for research/creative work (1500 words maximum), as well as a curriculum vita, portfolio of work, and contact information for three references. Deadline: Applications must be received by March 24, 2011 Send inquiries and applications to: Fellowship Search Committee Department of Architecture University at Buffalo 112 Hayes Hall Buffalo, NY 14214-3087 Peter Reyner Banham Fellowship Peter Reyner Banham (SUNY-Buffalo, 1976-80) spent his time in Buffalo engaged in a scholarly project on the imaginary of American industrial architecture at work in early modernism that took the form of historical research, hands-on engagement and seminar instruction that resulted in his landmark work, A Concrete Atlantis. In celebration of Banham’s legacy of experimental criticism the fellowship is intended to support research and creative activity undertaken developed in tandem with a pedagogical agenda. Applications should be composed of a well-considered proposal for research/creative work (1500 words maximum), as well as a curriculum vita, portfolio of work, and names of three references.