Architektour London Brutalism

Total Page:16

File Type:pdf, Size:1020Kb

Architektour London Brutalism Protokoll der 3. AFO Sitzung KULTURNACHT 2015 Datum: 18.3.2015, 18.00 Uhr Ort: Büro Frank Roskothen Anwesend: Patrick Biella, Alex Dietl, ArchitekTour Peter Lepel, Andreas Müller, Frank Roskothen, Iris Tijssen Entschuldigt: This Dormann, Holger Edbauer London Brutalism Kurze Zusammenfassung: 26. - 29.Oktober 2017 A Motto für das AFO Zur Diskussion standen: Ansichtssache (This), Blick....(Peter) Als vorläufiger Arbeitstitel wurde „ Blickpunkt“ gewählt. („Guckloch“ stand auch zur Wahl) BLepelLepel, Sujet Art DieAndreas Idee derMüller alten (teilweise), Stadtansichten Frank (Patrick)Roskothen, wurde Iris als gut, aber zu linear empfunden. WirTijssen haben uns auf zu entdeckende Details geeinigt. C Format des Bierdeckels DerKurze Vo Zusammenfassrschlag von Alexung: einen runden Bierdeckel mit Loch zu nehmen wurde angenommen. Layout von Alex wird gewählt. Wenig Text- ein Satz. D Sujets Vorhandene Ideen sind: Muschel (am Hauptplatz vor Grotte) Fuss (Hinter Schloss) Katze (an Fussgängerampel) Lochfassade (Stadtmuseum) „Kamel“ (Stein am Schlossaufgang) Bunker am Kunstzeughaus- Detail noch finden, oder Foto direkt von Oben. Strassenblume (alte Fabrik) 4-6 weitere konkrete Sujets werden noch gesucht damit wir insgesamt 10 haben. E Präsentation und Ablauf An den vorgesehen 5 Standorten Kunstzeughaus Stadtmuseum Alte Fabrik HSR AFO Bar Wollen wir je 2 Deckel mit passenden Sujets Platzieren. An der AFO Bar befestigen wir einen Programm Donnerstag 26. Oktober 2017 17.15 - 17.55 Flug Zürich nach London City Airport 17.55 - 19.00 Transfer London City Airport nach Hilton Angel Islington, DLR Bank von City Airport bis Bank Station, Northern Line High Barnett von Bank Station bis Angel Station oder Taxi Hilton Angel Islington, 53 Upper Street, Islington, London N1 OUY www.hiltonhotels.de/grossbritannien/hilton-london-angel-islington/ 20.00 - Abendessen in und um Angel Islington Freitag 27. Oktober 2017 08.00 - 08.45 Transfer Angel nach Balfron Tower, Bus von Hilton Angel Islington nach Balfron Tower 08.45 - 09.30 Balfron Tower, Andrew Parnell 09.30 - 09.45 Transfer Balfron nach Robin Hood Gardens, Fussweg 09.45 - 11.30 Robin Hood Gardens, Jessie Brennan, Andrew Parnell 11.30 - 12.15 Transfer Robin Hood nach Thamesmead, Bus von Poplar High Street nach Tha- mesmead, Binsey Walk 12.15 - 14.15 Thamesmead, Jessie Brennan, Andrew Parnell 14.15 - 15.15 Transfer Thamesmead nach The Economist, Bus bis North Greenwich Station, weiter mit Jubilee Line Stanmore bis Green Park Station 15.15 - 16.30 The Economist, Eleanor Alexander, DSDHA 16.30 - 17.00 Transfer The Economist nach 2 Willow Road, Victoria Line Walthamstow Central von Green Park Station bis Warren Street Station, Northern Line Edgware bis Hampstead Station 17.00 - 18.00 2 Willow Road, National Trust 18.00 - 18.30 Transfer 2 Willow Road nach Angel Islington, Northern Line Morden von Hampstead Station bis Angel Station 20.30 - Abendessen The Pig and Butcher, 80 Liverpool Road, Islington www.thepigandbutcher.co.uk Samstag 28. Oktober 2017 08.00 - 08.30 Transfer Hilton nach Barbican, Buslinie 56 City of London von Angel bis Barbican 08.30 - 11.15 Barbican, Andrew Parnell, David McKendrick, Barbican private tours 11.15 - 11.45 Transfer Barbican zu National Theatre, Buslinie 4 Waterloo von Barbican bis Waterloo Bridge South Bank oder bis City Thameslink und dann zu Fuss (je nach Verkehr) 11.45 - 13.30 National Theatre, Andrew Parnell 13.30 - 14.00 Transfer National Theatre nach Alexandra Road Estate, Jubilee Line Stanmore von Waterloo Underground bis Swiss Cottage Station 14.00 - 15.15 Alexandra Road Estate, Andrew Parnell, Matthew Chrislip 15.15 - 16.00 Transfer Alexandra Road Estate nach Keeling, Jubilee Line Stratford von Swiss Cottage Station bis Bond Street, Central Line Hainault bis Bethnal Green 16.00 - 17.00 Keeling House, Andrew Parnell, Andrew Stevenson (Themodernhouse) Transfer Keeling House nach Durham Yard, Fussweg 17.00 - 18.00 Durham Yard, TheCommon E2, Mark Sciberras 18.00 - 18.30 Transfer Durham Yard nach Angel Islington, Buslinie 55 Oxford Circus von Pritchards Road Bethnal Green bis Old Street, Northern Line High Barnet von Old Street bis Angel Station 21.30 - Abendessen Dishoom Kings Cross, 5 Stable Street www.dishoom.com Sonntag 29. Oktober 2017 10.00 - 12.00 Spaziergang Hilton nach Simpsons (reine Laufzeit ca. 1.0h) oder Treffen im Simpsons in the Strand 12.00 - Sunday Lunch The Savoy Simpsons in the Strand, 100 Strand, www.simpsonsinthestrand.co.uk, Dresscode smart casual Transfer Simpsons in the Strand nach City Airport ca. 1.0h, District Line Upmins- ter von Embankment bis Cannon Street, DLR Woolwich Arsenal von Bank Station bis London City Airport oder per Taxi, beides ca 45min.
Recommended publications
  • Who Is Council Housing For?
    ‘We thought it was Buckingham Palace’ ‘Homes for Heroes’ Cottage Estates Dover House Estate, Putney, LCC (1919) Cottage Estates Alfred and Ada Salter Wilson Grove Estate, Bermondsey Metropolitan Borough Council (1924) Tenements White City Estate, LCC (1938) Mixed Development Somerford Grove, Hackney Metropolitan Borough Council (1949) Neighbourhood Units The Lansbury Estate, Poplar, LCC (1951) Post-War Flats Spa Green Estate, Finsbury Metropolitan Borough Council (1949) Berthold Lubetkin Post-War Flats Churchill Gardens Estate, City of Westminster (1951) Architectural Wars Alton East, Roehampton, LCC (1951) Alton West, Roehampton, LCC (1953) Multi-Storey Housing Dawson’s Heights, Southwark Borough Council (1972) Kate Macintosh The Small Estate Chinbrook Estate, Lewisham, LCC (1965) Low-Rise, High Density Lambeth Borough Council Central Hill (1974) Cressingham Gardens (1978) Camden Borough Council Low-Rise, High Density Branch Hill Estate (1978) Alexandra Road Estate (1979) Whittington Estate (1981) Goldsmith Street, Norwich City Council (2018) Passivhaus Mixed Communities ‘The key to successful communities is a good mix of people: tenants, leaseholders and freeholders. The Pepys Estate was a monolithic concentration of public housing and it makes sense to break that up a bit and bring in a different mix of incomes and people with spending power.’ Pat Hayes, LB Lewisham, Director of Regeneration You have castrated communities. You have colonies of low income people, living in houses provided by the local authorities, and you have the higher income groups living in their own colonies. This segregation of the different income groups is a wholly evil thing, from a civilised point of view… We should try to introduce what was always the lovely feature of English and Welsh villages, where the doctor, the grocer, the butcher and the farm labourer all lived in the same street – the living tapestry of a mixed community.
    [Show full text]
  • “How Do We Live?” Housing Workshop / London 2019 11Th April — 18Th April 2019 Jocelyn Froimovich, Johanna Muszbek University of Liverpool in London
    “How Do We Live?” Housing Workshop / London 2019 11th April — 18th April 2019 Jocelyn Froimovich, Johanna Muszbek University of Liverpool in London Housing design never starts afresh; housing design operates through variation, iteration, and/or mutation of prior examples. The series of workshops “How do we live?” venture into a typological investigation, with the expectation that types can provide a framework to deal with complex urban variables. By understanding the particulars in the production of a housing type, the architect can manipulate and reorganise—invent. This workshop will discuss housing types, exemplary of a particular city in its making. By looking at past exemplary projects ant today’s market offer, the goal is to observe, analyse, participate and hopefully interfere in the production system of the urban. Rather than dismissing examples of the current housing offer as “bastard” architecture, it is assumed that these housing types portray specific subjects, their living and urban conditions; the politics, policies, and socio economic factors that lead into developing a particular urban setting. Thus, the goal of the studio is to design new housing types that expand the existing housing repertoire. These new types will respond to current and future lifestyles and contribute to resolve specific urban demands. The question for this workshop is: what defines the housing crisis of London today? By forcing the notion of crisis as a methodology, each student will question a specific London housing type and propose alternative designs for each of them. For this workshop, the notion of “crisis” will be used as an operative term. “Crisis” is understood as a turning point, a time when a difficult or important decision must be made.
    [Show full text]
  • Seminar Week People Commonly
    AN ADDENDUM TO LONDON’S NATURAL HISTORY by R.S.R. Fitter PEOPLE COMMONLY FOUND IN LONDON DEBTS OF GRATITUDE INTRODUCTION OVERVIEW MONDAY – WEST TUESDAY – NORTH WEDNESDAY – SOUTH THURSDAY – EAST FRIDAY – CENTRAL DIRECTORY SEMINAR WEEK 2 2 – 2 8 O C T O B E R STUDIO TOM EMERSON D-ARCH ETH ZURICH MMXVII 2 PEOPLE COMMONLY FOUND IN LONDON* Cyril Amrein +41 79 585 83 34; Céline Bessire +41 79 742 94 91; Lucio Crignola +41 78 858 54 02; Toja Coray +41 79 574 40 69; Vanessa Danuser +41 78 641 10 65; Nick Drofiak +41 75 417 31 95; Boris Gusic +41 79 287 43 60; David Eckert +41 79 574 40 71; Tom Emerson; Zaccaria Exhenry +41 79 265 02 90; Gabriel Fiette +41 78 862 62 64; Kathrin Füglister +41 79 384 12 73; Pascal Grumbacher +41 79 595 60 95; Jonas Heller +41 78 880 12 55; Joel Hösle +41 77 483 57 67; Jens Knöpfel +41 77 424 62 38; Shohei Kunisawa +41 78 704 43 79; Juliette Martin +41 78 818 88 34; Khalil Mdimagh +41 76 416 52 25; Colin Müller +41 79 688 06 08; Alice Müller +41 79 675 40 76; Philip Shelley +44 77 5178 05 81; Tobia Rapelli +41 79 646 37 18; Daria Ryffel +41 79 881 67 70; Florian von Planta +41 79 793 52 55; Andreas Winzeler +41 79 537 63 30; Eric Wuite +41 77 491 61 57; Tian Zhou +41 78 676 96 15 DEBTS OF GRATITUDE Many thanks to Taran Wilkhu & family, Kim Wilkie, Rebecca Law, Robert Youngs, Angela Kidner, Alex Sainsbury, Juergen Teller Studio, James Green, Adam Willis, Paloma Strelitz, Raven Row, Rachel Harlow, Katharina Worf, Matt Atkins, Crispin Kelly, Ashley Wilde-Evans, Stephanie Macdonald, Markus Lähteenmäki, Matthew Hearn.
    [Show full text]
  • Beauty and the Brutalists: Why the Most Maligned Style in History Should Be Preserved | Financial Times
    19-3-2021 Beauty and the Brutalists: why the most maligned style in history should be preserved | Financial Times Architecture Beauty and the Brutalists: why the most maligned style in history should be preserved Brutalist buildings around the world are endangered or lie derelict — even Donald Trump dislikes them Edwin Heathcote JANUARY 15 2021 Donald Trump might now forever be associated with classical architecture, just not necessarily in the way he would have wanted. The image of rioters storming the Capitol building in Washington, DC, this month, snapping selfies and stealing souvenirs, will be the indelible final memory of his tempestuous presidency. But one of his last acts in office was to issue an executive order that new federal buildings must be built in a classical style. What they should not be, it specified, is Brutalist. This is how it was defined: “Brutalist means the style of architecture that grew out of the early 20th-century Modernist movement that is characterised by a massive and block-like appearance with a rigid geometric style and large-scale use of exposed poured concrete.” For a big builder, Trump seems to have misunderstood the moment. Brutalism has been over as a way of building for about 40 years. No new US government buildings are in danger of being Brutalist. Perhaps he was thinking of the J Edgar Hoover Building, the FBI HQ a block away from the Trump International Hotel. The chunky concrete building has always been unpopular. https://www.ft.com/content/56088f69-cb96-4344-86c2-23d383274013 1/13 19-3-2021 Beauty and the Brutalists: why the most maligned style in history should be preserved | Financial Times The Brutalist FBI headquarters in Washington, DC, has always been unpopular © Alamy Stock Photo Not only is Brutalism no longer an applicable style, but hundreds of its best buildings are in danger of being lost forever through neglect, ignorance and laziness.
    [Show full text]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from the King's Research Portal At
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ ‘The Weight of a Rhetoric of Buildings’ Literary Uses of Architectural Space, 1909-1975 Vickery, Simon James Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 06. Oct. 2021 1 ‘The Weight of a Rhetoric of Buildings’: Literary Uses of Architectural Space, 1909- 1975 Simon Vickery Thesis for the degree of PhD in English King’s College London, 2015 2 Abstract This thesis examines the often uneasy dialogue between literature and architecture in twentieth-century Britain through reading literary representations of architectural space, with a particular focus on London.
    [Show full text]
  • Environmental Draft Statement
    DRAFT PHASE ONE ENVIRONMENTAL STATEMENT Non-Technical Summary 2 | HS2 Phase One Draft Environmental Statement | Non-Technical Summary High Speed Two (HS2) Limited, © Queen’s Printer and Controller of Her To order further copies contact: 2nd Floor, Eland House, Majesty’s Stationery Office, 2013, except where Bressenden Place, otherwise stated DfT Publications London SW1E 5DU Tel: 0300 123 1102 Copyright in the typographical arrangement Web: www.dft.gov.uk/orderingpublications Telephone 020 7944 4908 rests with the Crown. Product code : ES/01 General email enquiries [email protected] You may re-use this information (not including Website: www.hs2.org.uk logos or third-party material) free of charge in any format or medium, under the terms of Printed in Great Britain on paper containing the Open Government Licence. To view this at least 75% recycled fibre. licence, visit www.nationalarchives.gov.uk/ doc/open-government-licence/ or write to the Information Policy Team, The National Archives, Kew, London TW9 4DU, or e-mail: [email protected]. Where we have identified any third-party copyright information you will need to obtain permission from the copyright holders concerned. ENGINE FOR GROWTH HS2 Phase One Draft Environmental Statement | Non-Technical Summary Foreword The draft Environmental Statement HS2 Ltd is consulting on the draft ES in order to Proposed changes to the January 2012 scheme When the Government submits a hybrid Bill to inform interested parties on the design of the scheme Since the Secretary of State published the proposed Parliament in late 2013, seeking powers to build a and the likely environmental effects with a view to route in January 2012, work has continued to refine new high speed railway between London and the completion of the formal ES.
    [Show full text]
  • Teatro Marittimo
    Thamesmead. El área de Flat Block Marina en 2010 (fotografía del autor) PARAÍSOS MELANCÓLICOS La utopía de los conjuntos megaestructurales DAVID RIVERA Vi luego cielo nuevo y tierra nueva, porque el primer cielo y la primera tie- rra pasaron, y el mar no existe ya. Y vi la ciudad santa, la nueva Jerusalén, que bajaba del cielo de parte de Dios, preparada como esposa ataviada para su esposo. Apocalipsis, 21, 1 La penetración absoluta de los jardines-patio diluye el efecto de pared ciega tan común en los bloques longitudinales al uso, y produce viñetas de vida y de cielo en continuo cambio; la medida y la razón del conjunto se sitúa con claridad en la vivienda individual y la gente es el ornamento predes- tinado. A. y P. Smithson comentando su propuesta Golden Lane En su ya clásico aunque poco riguroso Megaestructuras, publicado en 1976, Reyner Banham comparaba las grandes edificaciones futuristas de los años 60 y 70 con plataformas petrolíferas, torres de lanzamiento de cohetes, portaaviones y dinosaurios. No era para menos, pues la moda de las “me- gaestructuras”, que dio lugar a lo que se podría considerar como el último período heroico del Movimiento Moderno, había dejado sobre Europa y Norteamérica una pequeña colección de esbozos, de experimentos mo- numentales y autorreferenciales, proyectados para alterar de manera ra- dical las relaciones del hombre con el medio. Pero las megaestructuras, o ciudades contenidas en uno o varios megabloques, no llegaron a edificarse en la práctica de manera completa. Joseph Rykwert coincide con Banham en afirmar que el Cumbernauld Town Centre y el Habitat de Montreal fueron las dos únicas construcciones que pueden dar una idea efectiva de lo que debía haber sido una megaestructura, aunque reconocen también que ambas realizaciones se quedaron en meras indicaciones, y que la po- Teatro Marittimo N.1 SEP 2O11 67 sibilidad de construir una auténtica megaestructura se hallaba lejos de los recursos tecnológicos y políticos disponibles en el momento.
    [Show full text]
  • MOSSLEY STALYBRIDGE Broadbottom Hollingworth
    Tameside.qxp_Tameside 08/07/2019 12:00 Page 1 P 0 0 0 0 0 0 0 0 0 ST MA A 0 0 0 0 0 0 0 0 Lydgate 0 D GI RY'S R S S D 0 0 0 0 0 0 0 0 0 A BB RIV K T O E L 6 5 4 3 2 1 0 8 9 SY C R C KES L A O 9 9 9 9 9 9 9 E 8 8 . N Y LAN IT L E E C 3 3 3 3 3 3 3 L 3 3 RN M . HO K R MANCHESTE Hollins 404T000 D R ROAD The Rough 404000 P A A E O Dacres O N HOLM R FIRTH ROAD R A T L E E R D D ANE L N L I KIL O BAN LD O N K O S LAN A A E H R Waterside D - L I E E Slate - Z V T L E D I I L A R R A E Pit Moss F O W R W D U S Y E N E L R D C S A E S D Dove Stone R O Reservoir L M A N E D Q OA R R U E I T C S K E H R C Saddleworth O IN N SPR G A V A A M Moor D M L D I E L A L Quick V O D I R E R Roaches E W I Lower Hollins Plantation E V V I G E R D D E K S C D I N T T U A Q C C L I I R NE R R O A L L Greave T O E T E TAK Dove Stone E M S IN S S I I Quick Edge R Moss D D O A LOWER HEY LA.
    [Show full text]
  • HUNSTANTON 15 the Theory and Criticism Behind the First Example of British Brutalism
    CONTENTS INTRODUCTION 2 1. CRISIS 6 The debate concerning the future direction of architecture in the 1950s 2. BRUTALIST BEGINNINGS: HUNSTANTON 15 The theory and criticism behind the first example of British Brutalism 3. ART: ‘As Found’ 33 The art theory that influenced Alison and Peter Smithson’s Brutalism 4. BÉTON BRUT 42 The influence of Le Corbusier upon British Brutalism 5. CASE STUDY: PARK HILL 50 The history and future of the Sheffield social housing project 6. ROBIN HOOD GARDENS 77 The Smithsons’ Brutalist social housing. 7. BEAUTY 83 The importance of popular ideas of beauty in social housing projects. CONCLUSION 94 APPENDIX 98 BIBLIOGRAPHY 102 ILLUSTRATIONS 113 - 1 - BRUTALISM: ORIGINS, USE, AESTHETICS & AFTERMATH INTRODUCTION On 24 March 2004, the Tricorn Centre in Portsmouth was demolished. Pimlico School in Westminster is currently (2009) being demolished. A few miles away in the East End of London, Robin Hood Gardens is scheduled for demolition. Park Hill in Sheffield, despite repeated calls for the same fate, has been awarded grade II* listed status, and, for now, has avoided the wrecking-ball. The majority of these buildings are only around thirty or forty years old. They were born during a period when British architecture assumed a harsh and heavy concrete mantle, an aesthetic that came to be known as Brutalism. It was an aesthetic conceived at the beginning of the 1950s, when the course of British architecture faced a crossroads. The dialectic was between a softer face of modern architecture, the Scandinavian influenced ‘New Humanism’, and a more primitive, ‘brutal’ architecture pioneered by Le Corbusier.
    [Show full text]
  • Domestic 4: the Modern House and Housing
    Domestic 4: Modern Houses and Housing Listing Selection Guide Summary Historic England’s twenty listing selection guides help to define which historic buildings are likely to meet the relevant tests for national designation and be included on the National Heritage List for England. Listing has been in place since 1947 and operates under the Planning (Listed Buildings and Conservation Areas) Act 1990. If a building is felt to meet the necessary standards, it is added to the List. This decision is taken by the Government’s Department for Digital, Culture, Media and Sport (DCMS). These selection guides were originally produced by English Heritage in 2011: slightly revised versions are now being published by its successor body, Historic England. The DCMS‘ Principles of Selection for Listing Buildings set out the over-arching criteria of special architectural or historic interest required for listing and the guides provide more detail of relevant considerations for determining such interest for particular building types. See https://www.gov.uk/government/publications/principles-of- selection-for-listing-buildings. Each guide falls into two halves. The first defines the types of structures included in it, before going on to give a brisk overview of their characteristics and how these developed through time, with notice of the main architects and representative examples of buildings. The second half of the guide sets out the particular tests in terms of its architectural or historic interest a building has to meet if it is to be listed. A select bibliography gives suggestions for further reading. This guide, one of four on different types of Domestic Buildings, covers modern houses and housing.
    [Show full text]
  • Keeling House, London E2 £585,000 Denys Lasdun / Brian Heron T. 020 7112 4907 [email protected]
    A D D R E S S Keeling House, London E2 P R I C E £585,000 A R C H I T E C T Denys Lasdun / Brian Heron T. 020 7 112 4907 [email protected] I N F O R M AT I O N Crowning the top of Bethnal Green's Grade II* listed Keeling House sits The Water Tank – a unique and glorious combination of 1950s Brutalist design and modern architecture, boasting exceptional views of London below. Completed in 2017 by architect Brian Heron, this once disused water tank has been converted into a sleek, light-filled, one-bedroom duplex penthouse replete with ample storage and carefully considered fixtures and fittings that nod to its utilitarian beginnings. Designed in 1955 and built between 1957-59, Keeling House was the work of eminent modernist architect Sir Denys Lasdun. A Brutalist cluster block of 16 storeys, it was the first tower block to be listed in the UK, and was awarded Grade II* status in 1993 by National Heritage secretary Peter Brooke who declared it 'an architecturally outstanding example of 1950s public housing'. It received a RIBA award-winning renovation by architects, Munkenbeck and Marshall in 2001. Brian Heron’s 2017 Water Tank conversion won The New architects Prize for Best Historic intervention 2018 and was short listed for both the RIBA London award and the Don’t move improve awards 2018. Once inside the building and past the concierge desk, the flat itself is accessed via a lift to the 14th floor where, through a set of double doors, there's a staircase leading to the 15th floor – home to a private storage lock up for bikes and larger items and access to an exterior walkway with 180 degree views of the London skyline.
    [Show full text]
  • Understanding Post-War Architecture
    Understanding Post-War Architecture The Twentieth Century Key Events 1916-20. Inflation pushes up the cost of building materials. Additionally shortages of materials encourage the use of new materials such as Crittall windows, sand-lime bricks, and prefabrication (steel and concrete systems) for council housing. These experiments were to be developed further after the Second World War, eg. No Fines housing, first tried in Britain in 1924 was widely used by (especially) Wimpeys (builders) after WWII. 1919. Housing (Addison) Act promises ‘homes for heroes’. 1921. Cut backs in public expenditure (Geddes Axe) as post-war boom turns to depression. It can be argued that the general economic malaise of the 1920s had a greater effect on British building than the Great Depression of 1929-33 which was devastating in localised areas, notably the NE and Wales. 1924. Empire Exhibition, Wembley (stadium opened the previous year). 1925. New Ways, Northampton, by Peter Behrens is first Modern Movement house, for W. Bassett Loake, who had previously commissioned C. R. Mackintosh to modernise a house in Northampton. 1926. General Strike. 1927. Le Corbusier’s Vers Une Architecture is translated into English as Towards a New Architecture. With his houses for the Weissenhofseidlung exhibition in Stuttgart, Le Corbusier defines ‘five points’ of modern architecture: free plan, free façade, flat roof, strip windows and pilotis. 1928. The first talkies in Britain (Al Jolson in The Singing Fool the first wide release here). Cinematograph Act requires cinemas to show a quota of British films. Film makers, distributors and exhibitors begin to combine and large companies (Gaumont, ABC, later Odeon and Granada) come to dominate the market, building big new super-cinemas.
    [Show full text]