DOCSLIB.ORG

Walk This Way South Bank

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Walk This Way South Bank Walk This Way South Bank London Eye to the Imperial War Museum South Bank is an area of incredible history, architecture, culture and regeneration. Originally isolated and defined by the Thames, for centuries this riverside location developed in a very different way from the affluent north bank. A marshy expanse of slum housing and country estates; a rural haven of green fields and pleasure gardens; a dynamic hub of industry and manufacturing; a nucleus of nineteenth-century theatre and entertainment venues; a host to the largest railway terminus in the country; and a byword for post-war cultural restoration. South Bank is now home to great national centres for art and culture, a vibrant and growing community and some of London’s finest achievements in architecture, such as the London Eye, which drew the attention of the world in the Millennium Year. Throughout its history, the South Bank has endured fire, flood, slum clearance, railway demolition, devastating bombing, and the ebb and flow of investment and industry. Consequently, the area is peppered with unique examples of architecture and hidden mementoes from the past that are waiting to be explored. Walk This Way will guide you through this journey of discovery, into the heart and the history of South Bank. See www.southbanklondon.com for a more detailed profile of the buildings and streets featured in Walk This Way – South Bank. At a brisk pace, the Walk This Way South Bank route will take at least 50 minutes, although it is recommended that you allow more time to stop and sightsee at www.southbanklondon.com architecture + history at your feet various points along the route. 1 South Bank Influences The Railway From its arrival in 1848 the Railway has dominated the area, ‘There is a grain of sand in Lambeth that satan cannot find, dividing it from the river with a bastion of brickwork and The Marsh isolating the waterfront. With powers of compulsory purchase, Nor can his Watch Fiends find it: ‘tis translucent and has The Anglo-Saxon origin of Lambeth: ‘Lambhythe’, implies that the railway company was free to demolish anything to many angles’ a muddy harbour or marsh had been present from the earliest increase its railway lines and terminus. (One such casualty in days of London. As the city grew, the Marsh, a prime location 1900 was the insalubrious ‘Whore-terloo’ neighbourhood.) WILLIAM BLAKE, SOUTH BANK RESIDENT but difficult to develop, remained largely untouched, a green The vast number of steam trains running from the Station (as oasis of agriculture and public gardens where urbanites could many as 700 a day by the end of the nineteenth century) find refreshment in a rural surrounding. polluted the local air, already choked by two centuries of industry, with thick smog. One of England’s great religious poets and artists Theatre William Blake ( 1757–1827) spent almost a decade in the In the eighteenth and nineteenth centuries, the area of The Festival of Britain then-rural village of Lambeth Marsh, which would inspire the Lambeth urbanised and the entertainment world burgeoned. Ironically, it was the Second World War, which had done so production of some of his finest works. Away from the rigid theatrical duopoly of the north bank, the much damage to the area, that was responsible for much of its cheap land of Lambeth enabled individual impresarios to regeneration. Intending to create a ‘tonic’ for the war-scarred build and develop their own performance venues, creating all- nation, the South Bank was chosen as the site for the Festival year, all-weather venues. Taverns converted to music halls and of Britain. The bombed-out riverside was cleared and built fringe ‘Penny Gaffs’ were ubiquitious. Without artistic upon, becoming the site, in 1951, of a national celebration. restrictions or censorship (unlike the north bank), the theatres The Royal Festival Hall remained as a permanent legacy, to be of the Marsh were quite permissive and, before modern film followed in subsequent decades by other arts venues, such as and radio put the theatres out of business, many were closed the Hayward Gallery and Royal National Theatre, adding a down for being ‘disorderly houses’. new chapter to the history of the South Bank. Industry Community It was in the eighteenth century that industry also began to Bomb-damage, commercial development and the decline of develop in the area: some needed the Marsh’s fresh water traditional industries took their toll on the post-war population supply (for brewing or cloth bleaching); others exploited the of South Bank and by the 1970’s, the residential population cheap land and river access to move or store their bulk goods had fallen from 50,000 to just 4,000. A proposed skyscraper (limestone, scrap iron and wood). Improved access from the development in 1977 threatened to seal the river off from the new Westminster and Blackfriars bridges, combined with the interior completely, prompting the protests of the Coin Street need for large amounts of industrial labour led to a Community Action Group. By 1984 this group proved population explosion in the once-quiet village as thousands successful and formed a not-for-profit company to redevelop flocked to the South Bank to work on the coal wharves, timber and regenerate the area. Since then, derelict buildings have yards, potteries, dye works, lime kilns, blacking factories and been demolished, new parks and riverside walkways have printing houses. The growth of industry was one of the key been opened up and affordable housing has been built, components in Lambeth’s transformation from rural haven reversing the population decline, as well as introducing into a centre of industry, the other was the railway. workshops, public art and festivals to the area. 2 Lancaster Place nt e Bl nkm ba a Em ck ria to friars Vic MES RIVER THA B ridge nd Waterloo Bridge tra S t n e Savoy Pier 14 m k n a 13 b m E e Ho arg St a B ri R o e nnie t B Key Transport c i r 12 o V a dwall General travel information can be obtained on Transport for Embankment Pier 8 d St 15 r un eet 1 Westminster Bridge London’s 24-hour number: 020 7222 1234, www.tfl.gov.uk Festival Pier 7 Gro 16 Embankment 9 Coin St B 17 Pari 11 la 2 South Bank Lion r c e s p kfria Golde Up Garden 3 County Hall Underground Stations et n 10 tre J C S r u 6 s 4 London Eye Waterloo Northern, Bakerloo, Waterloo & City and Jubilee bilee Bridges o r Ro n 18 St w H o a 5 Golden Jubilee Bridges a a b l m d (Jubilee Line exit is wheelchair accessible) l tfields o Aquinas St ol R C 6 Royal Festival Hall o Southwark Jubilee rd a 5 d 7 National Film Theatre tamfo tt Street (main exit is wheelchair accessible) S eymo 19 M 8 Waterloo Bridge Concert Hall App T e Theed Street n 22 9 National Theatre is 20 Whittlesey Street Buses o n 10 Hayward Gallery Wa y Roupell St The buses that stop at or near Waterloo include: 21 11 South Bank Banners M Exton St Waterloo Jubilee eph G am r 1, 4, 26, 59, 68, 76, 77, 168, 171, 172, 188, 211, 243, 341, 507, 521, S Waterloo East e 12 Millennium Pier Gardens t e Gabriel’s Wharf & Bernie Spain t Southwark d Wooton Street S X68, N1, N68, N171, N381 a t Gardens o R London C e o 4 r W 13 Oxo Tower Wharf r Eye e a n Cons St d t w Waterloo Station erlo Sho e a 23 14 Blackfriars Bridge Riverside (RV1) Bus Service v l l l e oR R rt S B o 15 Stamford House oad a ut t Riverside 1 is a bus service linking Covent Garden, South Bank, d C re e e Waterloo, Bankside, London Bridge and Tower Gateway, Th t 16 London Nautical School 17 Palm Housing Co-operative d Webber rd Street providing a cost-effective, easily recognisable link to over a ffo e 3 o 28 27 U s R 24 lo 18 65–19 Stamford Street C k thirty of London’s attractions. r in o l B 19 Royal Waterloo Hospital for Y p a l 26 h a C c A Co 25 k Children & Women dd Stre f ing r et r t a i Route Accessibility o a n sh l S 20 bfi London IMAX Cinema r t r S a s t 1 2 r M F R There is no through access from point 14. Continue along Upper e r r Gray St e Westmin ster e a o 21 St. John The Evangelist Church t w o zi a B L e d Ground to reach Rennie Street and point 15 to resume the route. ridge r 22 1–72 Roupell Street St Waterloo Ro d reet 23 Young Vic a o Accessibility Information R t 24 1–29 Ufford Street is l ree y t a 29 a d 25 The Stage Door London Eye 0870 990 8885 30 B ey S 26 David Grieg Department Store Royal Festival Hall 020 7921 0971 orl S M E eorges 27 Old Vic National Film Theatre 020 7388 2227 Lambeth North t G M Roy S A al S s 28 Waterloo Millennium Green d tr 31 oad Circu H e e R National Theatre 020 7452 3000 a et r Bridg T te o estmins R 32 W 29 Crown & Cushion R Hayward Gallery 020 7921 0813 E ce V a I l a d 30 London Necropolis Station R P a Oxo Tower Wharf 020 7401 2255 th e o be n R 31 Christchurch & Upton Chapel m a s a L e L l 33 bfi London IMAX Cinema 020 7388 2227 e u l rc 32 Wellington Mills s e li Imperial War Museum 020 7416 5262 r H Lambeth Archbishop’s a oad 33 St.
Load more

Recommended publications
  • Stage by Stage South Bank: 1988 – 1996
    Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’.
    [Show full text]
  • IWM Digital Resource for Volunteers
    IWM Digital Resource for Volunteers An Interactive Qualifying Project Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE In partial fulfillment of the requirements for the Degree of Bachelor of Science by: Linda Baker Shintaro Clanton Andrew Gregory Rachel Plante Project advisors: VJ Manzo Jianyu Liang June 23, 2016 This report represents the work of one or more WPI undergraduate students submitted to the faculty as evidence of completion of a degree requirement. WPI routinely publishes these reports on its web site without editorial or peer review. ABSTRACT The Interaction Volunteers at Imperial War Museums London engage with visitors in the exhibits and discuss about certain artifacts. The communication of information among the Interaction Volunteer team, however, has been inefficient as the system relied on paper resources. Our IQP team surveyed volunteers and conducted a focus group to gather input about layout and features for a potential digital resource which the Interaction Volunteers could use in management of artifactual content and digital forms. This information was then used to design a website utilizing a content management system in order to make the communication of information more simple and efficient for the Interaction Volunteer team. ii ACKNOWLEDGEMENTS Our team would like to thank our advisors, Professors V.J. Manzo and Jianyu Liang, for their continued support and guidance in completing this project. We would especially like to thank Mr. Grant Rogers, Informal Learning and Engagement Manager at Imperial War Museums London, for sponsoring and providing insight for our project and for sharing his enthusiasm for the museum. In addition, we would like to extend our gratitude to the Learning and Engagement Department and Digital Design Department at Imperial War Museums London, for providing us the resources we needed to complete our project, and to the Volunteer Program at Imperial War Museums London for their advice and participation in our project.
    [Show full text]
  • Star Wars at MT
    NEW STAR WARS AT MADAME TUSSAUDS UNIQUE INTERACTIVE STAR WARS EXPERIENCE OPENS MAY 2015 A NEW multi-million pound experience opens at Madame Tussauds London in May, with a major new interactive Star Wars attraction. Created in close collaboration with Disney and Lucasfilm, the unique, immersive experience brings to life some of film’s most powerful moments featuring extraordinarily life- like wax figures in authentic walk-in sets. Fans can star alongside their favourite heroes and villains of Star Wars Episodes I-VI, with dynamic special effects and dramatic theming adding to the immersion as they encounter 16 characters in 11 separate sets. The attraction takes the Madame Tussauds experience to a whole new level with an experience that is about much more than the wax figures. Guests will become truly immersed in the films as they step right into Yoda's swamp as Luke Skywalker did in Star Wars: Episode V The Empire Strikes Back or feel the fiery lava of Mustafar as Anakin turns to the dark side in Star Wars: Episode III Revenge of the Sith. Spanning two floors, the experience covers a galaxy of locations from the swamps of Dagobah and Jabba’s Throne Room to the flight deck of the Millennium Falcon. Fans can come face-to-face with sinister Stormtroopers; witness Luke Skywalker as he battles Darth Vader on the Death Star; feel the Force alongside Obi-Wan Kenobi and Qui-Gon Jinn when they take on Darth Maul on Naboo; join the captive Princess Leia and the evil Jabba the Hutt in his Throne Room; and hang out with Han Solo in the cantina before stepping onto the Millennium Falcon with the legendary Wookiee warrior, Chewbacca.
    [Show full text]
  • Discover London
    Discover London Page 1 London Welcome to your free “Discover London” city guide. We have put together a quick and easy guide to some of the best sites in London, a guide to going out and shopping as well as transport information. Don’t miss our local guide to London on page 31. Enjoy your visit to London. Visitor information...........................................................................................................Page 3 Tate Modern....................................................................................................................Page 9 London Eye.....................................................................................................................Page 11 The Houses of Parliament...............................................................................................Page 13 Westminster Abbey........................................................................................................Page 15 The Churchill War Rooms...............................................................................................Page 17 Tower of London............................................................................................................Page 19 Tower Bridge..................................................................................................................Page 21 Trafalgar Square.............................................................................................................Page 23 Buckingham Palace.........................................................................................................Page
    [Show full text]
  • South Bank Conservation Area Statement 2007 Conservation Area
    South BankSouth Bank Conservation Area Statement 2007 Conservation Area Conservation Area Statement September 2007 South Bank Conservation Area Statement 2007 Conservation Area Context Map This map shows the South Bank Conservation Area (CA 38) in its wider context which includes the following neighbouring conservation areas: - CA 09 Walcot Conservation Area (part only) CA 10 Lambeth Palace Conservation Area CA 21 Roupell Street Conservation Area CA 34 Waterloo Conservation Area CA 40 Lower Marsh Conservation Area CA 50 Lambeth Walk & China Walk Conservation Area CA 51 Mitre Road & Ufford Street Conservation Area 2 South Bank Conservation Area Statement 2007 Conservation Area Boundary Map The maps in this document are based upon Ordnance Survey material with permission of Ordnance Survey on behalf of the Controller of Her Majesty’s Stationery Office. © Crown Copyright. Unauthorised preproduction infringes Crown Copyright and may lead to prose- cution or civic proceedings. LB Lambeth 100019338 2007. 3 South Bank Conservation Area Statement 2007 CONTENTS PAGE INTRODUCTION 5 1. PLANNING FRAMEWORK 6 2. CONSERVATION AREA APPRAISAL 7 2.1 Purpose and structure of a Conservation Area Appraisal 7 2.2 Historic Development 7 2.3 City Context & Strategic Views 11 2.4 Archaeology 11 2.5 Spatial Form 11 2.6 Streetscape 14 2.7 Permeability 16 2.8 Public Realm 17 2.9 Access 17 2.10 Street Furniture 18 2.11 Public Art 19 2.12 Activity and Uses 19 2.13 Spaces 20 2.14 Built form 21 2.15 Listed Buildings 22 2.16 Locally Listed Buildings 23 2.17 Buildings making a Positive Contribution 23 2.18 Buildings Making a Neutral Contribution 26 2.19 Buildings Making a Negative Contribution 26 2.20 Spaces Making a Positive Contribution 27 2.21 Spaces Making a Neutral Contribution 28 2.22 Spaces Making A Negative Contribution 29 2.23 Important Local Trees 29 2.24 Important Local Views 29 2.25 Signs & Advertisements 30 2.26 Setting of the Conservation Area 31 2.27 Appraisal Conclusion 31 4 South Bank Conservation Area Statement 2007 PAGE 3.
    [Show full text]
  • Waterloo Building Height Study, 2018
    Waterloo Building Height Study, 2018 1. Introduction 1.1 This study has been undertaken to inform Lambeth’s approach to tall buildings in Waterloo as part of the Lambeth Local Plan Review, 2018. 2. Background The Waterloo Opportunity Area 2.1 The London Plan identifies Waterloo as an Opportunity Area and the objectives are outlined in the Mayor’s Waterloo Opportunity Area Planning Framework (2007) which include: ‘Development potential in the area should be maximised given Waterloo’s status as an opportunity Area and its location within the Central Activities Zone and to accord with the strategy of providing the highest levels of activity at locations with the greatest transport capacity’. 2.2 The OAPF identified two broad areas suitable for tall building – above and around the station and on the commercial spine behind the Riverside (Belvedere Road and Upper Ground) – based in part on the presence of tall buildings in these locations already. The associated illustrations generally show a cluster of tall buildings over Waterloo Station which would be delivered as part of a station redevelopment which would push the passenger concourse to ground level allowing the platforms to be extended. 2.3 The OAPF recognises the need for development to respond to this sensitive context: ‘Additionally, development potential has to be tempered against the normal impacts of development assessed by the planning system including the impact on character areas and on local and strategic views’. (OAPF page 99). 2.4 Figure 49 identifies five areas of possible development within and around the railway station: 1. Elizabeth House and surrounds, 2.
    [Show full text]
  • Imperial War Museum Annual Report and Accounts 2019-20
    Imperial War Museum Annual Report and Accounts 2019-20 Presented to Parliament pursuant to section 9(8) Museums and Galleries Act 1992 Ordered by the House of Commons to be printed on 7 October 2020 HC 782 © Crown copyright 2020 This publication is licensed under the terms of the Open Government Licence v3.0 except where otherwise stated. To view this licence, visit nationalarchives.gov.uk/doc/open-government-licence/version/3. Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concerned. This publication is available at: www.gov.uk/official-documents. Any enquiries regarding this publication should be sent to us at [email protected] ISBN 978-1-5286-1861-8 CCS0320330174 10/20 Printed on paper containing 75% recycled fibre content minimum Printed in the UK by the APS Group on behalf of the Controller of Her Majesty’s Stationery Office 2 Contents Page Annual Report 1. Introduction 4 2. Strategic Objectives 5 3. Achievements and Performance 6 4. Plans for Future Periods 23 5. Financial Review 28 6. Staff Report 31 7. Environmental Sustainability Report 35 8. Reference and Administrative Details of the Charity, 42 the Trustees and Advisers 9. Remuneration Report 47 10. Statement of Trustees’ and Director-General’s Responsibilities 53 11. Governance Statement 54 The Certificate and Report of the Comptroller and Auditor 69 General to the Houses of Parliament Consolidated Statement of Financial Activities 73 The Statement of Financial Activities 74 Consolidated and Museum Balance Sheets 75 Consolidated Cash Flow Statement 76 Notes to the financial statements 77 3 1.
    [Show full text]
  • Research Report 2012
    IWM RESEARCH REPORT 2012 Contents 1. Introduction 3 2. Fellowships, Collaborative Doctoral Awards and PhDs, and successful research funding bids 4 2.1 Fellowships 4 2.2 Collaborative Doctoral Awards, supported PhDs and commissioned research 4 2.3 Successful research funding bids 6 3. Publications 7 3.1 Publications by IWM staff 7 3.2 Media Involvement by IWM staff 9 3.3 Expert Assistance by IWM staff 11 4. Conferences, lectures, talks and other significant representation 14 4.1 Seminar series and conferences etc arranged by IWM 14 4.2 Individual representation 16 2 1. Introduction Efforts to build IWM’s reputation as a research organisation continued apace in 2012, with several promising developments. The start of the year saw the beginning of the first IWM project to be wholly funded by a grant from AHRC, following IWM’s achievement of Independent Research Organisation (IRO) status. Whose Remembrance? was a scoping study which set out to investigate levels of awareness of the experiences of the peoples of Britain’s former empire in the two world wars. Its scope and achievements are detailed in the section on ‘successful funding bids’ below. Led by the Research Department, the project – funded under the Connected Communities scheme – addressed a particularly pressing issue and produced lively and engaging workshops during the summer of 2012. The year saw continued effort on Research across IWM. Staff generated over 20 publications and gave presentations at more than 50 workshops, conferences and symposia during the year, in addition to providing advice, expertise and media appearances across a wide range of subjects.
    [Show full text]
  • SOUTH BANK GUIDE One Blackfriars
    SOUTH BANK GUIDE One Blackfriars The South Bank has seen a revolution over the past 04/ THE HEART OF decade, culturally, artistically and architecturally. THE SOUTH BANK Pop up restaurants, food markets, festivals, art 08/ installations and music events have transformed UNIQUE the area, and its reputation as one of London’s LIFESTYLE most popular destinations is now unshakeable. 22/ CULTURAL Some of the capital’s most desirable restaurants and LANDSCAPE bars are found here, such as Hixter, Sea Containers 34/ and the diverse offering of The Shard. Culture has FRESH always had a place here, ever since the establishment PERSPECTIVES of the Festival Hall in 1951. Since then, it has been 44/ NEW joined by global champions of arts and theatre such HORIZONS as the Tate Modern, the National Theatre and the BFI. Arts and culture continues to flourish, and global businesses flock to establish themselves amongst such inspiring neighbours. Influential Blue Chips, global professional and financial services giants and major international media brands have chosen to call this unique business hub home. With world-class cultural and lifestyle opportunities available, the South Bank is also seeing the dawn of some stunning new residential developments. These ground-breaking schemes such as One Blackfriars bring an entirely new level of living to one of the world’s most desirable locations. COMPUTER ENHANCED IMAGE OF ONE BLACKFRIARS IS INDICATIVE ONLY 1 THE HEART OF THE SOUTH BANK THE SHARD CANARY WHARF 30 ST MARY AXE STREET ONE BLACKFRIARS TOWER BRIDGE
    [Show full text]
  • Trader Terms and Conditions 2019 - 2020
    Trader Terms and conditions 2019 - 2020 1 Contents Trader information ........................................................................................................................................... 3 Requirements to trade ..................................................................................................................................... 4 Compliance Documents ................................................................................................................................ 4 Regulations and Conditions .............................................................................................................................. 5 Opening hours ............................................................................................................................................... 5 Deposit and Payments .................................................................................................................................. 6 Pitch & Canopy .............................................................................................................................................. 6 Fees ............................................................................................................................................................... 7 Customer payment method ......................................................................................................................... 7 Policy for augmenting menus ......................................................................................................................
    [Show full text]
  • Read the 2015/2016 Financial Statement
    ANNUAL REPORT 2015-16 National Theatre Page 1 of 87 PUBLIC BENEFIT STATEMENT In developing the objectives for the year, and in planning activities, the Trustees have considered the Charity Commission’s guidance on public benefit and fee charging. The repertoire is planned so that across a full year it will cover the widest range of world class theatre that entertains, inspires and challenges the broadest possible audience. Particular regard is given to ticket-pricing, affordability, access and audience development, both through the Travelex season and more generally in the provision of lower price tickets for all performances. Geographical reach is achieved through touring and NT Live broadcasts to cinemas in the UK and overseas. The NT’s Learning programme seeks to introduce children and young people to theatre and offers participation opportunities both on-site and across the country. Through a programme of talks, exhibitions, publishing and digital content the NT inspires and challenges audiences of all ages. The Annual Report is available to download at www.nationaltheatre.org.uk/annualreport If you would like to receive it in large print, or you are visually impaired and would like a member of staff to talk through the publication with you, please contact the Board Secretary at the National Theatre. Registered Office & Principal Place of Business: The Royal National Theatre, Upper Ground, London. SE1 9PX +44 (0)20 7452 3333 Company registration number 749504. Registered charity number 224223. Registered in England. Page 2 of 87 CONTENTS Public Benefit Statement 2 Current Board Members 4 Structure, Governance and Management 5 Strategic Report 8 Trustees and Directors Report 36 Independent Auditors’ Report 45 Financial Statements 48 Notes to the Financial Statements 52 Reference and Administrative Details of the Charity, Trustees and Advisors 86 In this document The Royal National Theatre is referred to as “the NT”, “the National”, and “the National Theatre”.
    [Show full text]
  • Press Release Hayward Gallery Welcomes a Series of New Outdoor
    Press Release Date: Tuesday 06 July Contact: [email protected] Images: downloadable HERE This press release is available in a variety of accessible formats. Please email [email protected] Hayward Gallery welcomes a series of new outdoor commissions in partnership with the Bagri Foundation Credits (from left): Hayward Gallery exterior © Pete Woodhead; Hayward Gallery Billboard showing Salman Toor’s Music Room © Rob Harris; Jeppe Hein's Appearing Rooms outside Queen Elizabeth Hall. A three-year partnership, announced today, between the Hayward Gallery and the Bagri Foundation will brinG a series of new outdoor art commissions to the Southbank Centre. Aimed at providinG artists from or inspired by Asia and its diaspora with the opportunity to create a prominent public commission, this new initiative is the latest addition to a growing programme of outdoor art installations and exhibitions across the Southbank Centre’s iconic site. The BaGri Foundation commission, launchinG next month, will take place every summer until 2023. Founded with roots in education, the Bagri Foundation is dedicated to realising artistic interpretations and ideas that weave traditional Asian culture with contemporary thinkinG. This mission underpins the three-year partnership between the Foundation and the Hayward Gallery, brinGinG new artistic encounters to the General public. Each year, an artist will be commissioned to produce a site-specific work that invites visitors to London’s Southbank Centre to experience contemporary art in a unique and unexpected space beyond the gallery. The first commission launches in AuGust 2021 with a larGe-scale installation by collective Slavs and Tatars. With a focus devoted to an area East of the former Berlin Wall and West of the Great Wall of China known as Eurasia, Slavs and Tatars’ practice questions understandings of language, ritual and identity through a blend of pop aesthetics, cultural traditions and overlooked histories.
    [Show full text]