2014 ___
PAST + FUTURE
Introduction
The 2014 Venice Architecture Biennale entitled Absorbing Modernity 1914–2014, curated by Rem Koolhaas, considered research into past histories as a way of reconstructing how architecture has arrived at its current situation and how we might speculate on its future. In response, Past + Future undertook research by four groups, each comprising a practising architect, an academic and two students, into aspects of modernity in Scottish architecture within the post-war period, 1950–1970. This was a time of great optimism when a light of modernity shone with some clarity and some sense of direction and identity. Following the work in Scotland and newspapers produced of their findings, the groups held a residence in Venice. There, a series of reflections opened up debate about what a modern architecture in Scotland was and what it might be – could there be a rekindling of a desire to create a new architectural culture that is based on betterment, socially and culturally? The groups shared their research with the extensive architectural community the Biennale affords, gathering insights and references to other past histories from across the globe. Credits: Past + Future was curated by Reiach and Hall Architects Neil Gillespie OBE Laura Kinnaird Lewis Thompson Advisory Panel Karen Anderson (Chair) Anderson Bell Christie Architects and Architecture + Design Scotland Gerry Grams City Design Adviser, Glasgow City Council Penny Lewis Lecturer in Architectural History, Scott Sutherland School of Architecture & Built Environment, Robert Gordon University, AE Foundation Co-founder and Director Professor Christopher Platt Head of the Mackintosh School of Art Ranald MacInnes Historic Scotland Adrian Stewart Do Architecture Bernat Klein Studios, High Sutherland Peter Womersely 1969 Image: © Reiach and Hall Architects
Newspaper
2014 ___
PAST + FUTURE
Introduction
The 2014 Venice Architecture Biennale entitled Absorbing Modernity 1914–2014, curated by Rem Koolhaas, considered research into past histories as a way of reconstructing how architecture has arrived at its current situation and how we might speculate on its future. In response, Past + Future undertook research by four groups, each comprising a practising architect, an academic and two students, into aspects of modernity in Scottish architecture within the post-war period, 1950–1970. This was a time of great optimism when a light of modernity shone with some clarity and some sense of direction and identity. Following the work in Scotland and newspapers produced of their findings, the groups held a residence in Venice. There, a series of reflections opened up debate about what a modern architecture in Scotland was and what it might be – could there be a rekindling of a desire to create a new architectural culture that is based on betterment, socially and culturally? The groups shared their research with the extensive architectural community the Biennale affords, gathering insights and references to other past histories from across the globe. Credits: Past + Future was curated by Reiach and Hall Architects Neil Gillespie OBE Laura Kinnaird Lewis Thompson Advisory Panel Karen Anderson (Chair) Anderson Bell Christie Architects and Architecture + Design Scotland Gerry Grams City Design Adviser, Glasgow City Council Penny Lewis Lecturer in Architectural History, Scott Sutherland School of Architecture & Built Environment, Robert Gordon University, AE Foundation Co-founder and Director Professor Christopher Platt Head of the Mackintosh School of Art Ranald MacInnes Historic Scotland Adrian Stewart Do Architecture Bernat Klein Studios, High Sutherland Peter Womersely 1969 Image: © Reiach and Hall Architects
Newspaper
2014 ___
PAST + FUTURE
BEING THERE, THE FIERCE AND BEAUTIFUL WORLD (Edinburgh) The project looks at 1960s buildings in the southeast of Scotland, some of which are barely known outwith their local communities. Many people believe that the buildings of the 1960s are failures – but as Roger Connah said: ‘failure isn’t always quite what we expect it to be’. Upon examination, the buildings reveal an optimism and rigour that is lacking from the current architectural scene. The re-evaluation and re-presentation of our recent architectural past is prompted by the hope that our society will stop demolishing so many valuable pieces of architecture and that by looking backwards, we will find a direction for the future. Being There was prepared by the following group: James Grimley Director, Reiach and Hall Architects, Part-time Studio Tutor at The Edinburgh School of Architecture and Landscape Architecture Chris Lowry Lecturer in Architecture, The Edinburgh School of Architecture and Landscape Architecture Fergus David The Edinburgh School of Architecture and Landscape Architecture Sophie Crocker The Edinburgh School of Architecture and Landscape Architecture
Cables Wynd House, Leith Alison and Hutchison 1963 Drawing: © Chris Lowry
Newspaper Venice event Scottish event
2014 ___
Group 1
BEING THERE, THE FIERCE AND BEAUTIFUL WORLD (Edinburgh) The project looks at 1960s buildings in the southeast of Scotland, some of which are barely known outwith their local communities. Many people believe that the buildings of the 1960s are failures – but as Roger Connah said: ‘failure isn’t always quite what we expect it to be’. Upon examination, the buildings reveal an optimism and rigour that is lacking from the current architectural scene. The re-evaluation and re-presentation of our recent architectural past is prompted by the hope that our society will stop demolishing so many valuable pieces of architecture and that by looking backwards, we will find a direction for the future. Being There was prepared by the following group: James Grimley Director, Reiach and Hall Architects, Part-time Studio Tutor at The Edinburgh School of Architecture and Landscape Architecture Chris Lowry Lecturer in Architecture, The Edinburgh School of Architecture and Landscape Architecture Fergus David The Edinburgh School of Architecture and Landscape Architecture Sophie Crocker The Edinburgh School of Architecture and Landscape Architecture
Cables Wynd House, Leith Alison and Hutchison 1963 Drawing: © Chris Lowry
Newspaper Venice event Scottish event
2014 ___
Group 1
EMBEDDED MODERNISM (Glasgow) Glasgow is like Venice, but where you have water we have a grid of streets, on which is built some of the finest 19th century architecture in the world. When Glasgow met the 20th century it threatened to be overwhelmed by the new ideas of planning and building. Venice kept it out – Glasgow embraced it, but deep in the city a very particular architecture emerged that both bedded itself in but at the same time allowed a skyline to grow out of it that was new and different. The theme of the Venice Biennale has allowed the group to look at the story of this distinctive approach. Embedded Modernism was prepared by the following group: Alan Hooper Architect, Programme Leader, Department of Architecture, The Glasgow School of Art David Page Architect at Page \ Park Architects, Visiting Professor, University of Strathclyde Andrew Frame University of Strathclyde Christopher Dove The Glasgow School of Art Fraser Maitland University of Strathclyde Jamie Whelan The Glasgow School of Art
Absorbing Modernity Axonometric Image: Š Jamie Whelan
Newspaper Venice event Scottish event
2014 ___
Group 2
EMBEDDED MODERNISM (Glasgow) Glasgow is like Venice, but where you have water we have a grid of streets, on which is built some of the finest 19th century architecture in the world. When Glasgow met the 20th century it threatened to be overwhelmed by the new ideas of planning and building. Venice kept it out – Glasgow embraced it, but deep in the city a very particular architecture emerged that both bedded itself in but at the same time allowed a skyline to grow out of it that was new and different. The theme of the Venice Biennale has allowed the group to look at the story of this distinctive approach. Embedded Modernism was prepared by the following group: Alan Hooper Architect, Programme Leader, Department of Architecture, The Glasgow School of Art David Page Architect at Page \ Park Architects, Visiting Professor, University of Strathclyde Andrew Frame University of Strathclyde Christopher Dove The Glasgow School of Art Fraser Maitland University of Strathclyde Jamie Whelan The Glasgow School of Art
Absorbing Modernity Axonometric Image: Š Jamie Whelan
Newspaper Venice event Scottish event
2014 ___
Group 2
LAND WORKS (Highlands and Islands) A series of reconnaissance exercises were undertaken to observe three site-specific concrete structures of the Scottish landscape within a triptych framework of ‘above’, ‘on’ and ‘below’: Water Tower at Nybster, Loch Glascarnoch Dam and Ceannacroc (underground) Hydro Station. The fieldwork studies are mapping works in progress, ongoing development along various lines of enquiry into the adapted modernism of infrastructure and architecture as a visual language used in the Scottish Highlands during the 1950s. The projects selected provide comparative case studies in the use of form, scale, materials, space and time. In parallel with our fieldwork studies the ideas and influences of the progressive Scottish generalist tradition, advocated by Patrick Geddes (1854–1932), is acknowledged as a preamble to the evolving modernism of the 1950s. Land Works was prepared by the following group: Fergus Purdie RSA (Elect), Architect at Fergus Purdie Architects, Part-time Studio Tutor at the School of the Environment, University of Dundee Rowan Mackinnon-Pryde Architect at Reiach and Hall Architects, Associate AE Foundation Associate, Editor of Matzine Ashley Tosh Scott Sutherland School of Architecture & Built Environment, Robert Gordon University William Purdie University of Strathclyde
Water Tower, Nybster Image: Fergus Purdie Architects
Newspaper Venice event Scottish event
2014 ___
Group 3
LAND WORKS (Highlands and Islands) A series of reconnaissance exercises were undertaken to observe three site-specific concrete structures of the Scottish landscape within a triptych framework of ‘above’, ‘on’ and ‘below’: Water Tower at Nybster, Loch Glascarnoch Dam and Ceannacroc (underground) Hydro Station. The fieldwork studies are mapping works in progress, ongoing development along various lines of enquiry into the adapted modernism of infrastructure and architecture as a visual language used in the Scottish Highlands during the 1950s. The projects selected provide comparative case studies in the use of form, scale, materials, space and time. In parallel with our fieldwork studies the ideas and influences of the progressive Scottish generalist tradition, advocated by Patrick Geddes (1854–1932), is acknowledged as a preamble to the evolving modernism of the 1950s. Land Works was prepared by the following group: Fergus Purdie RSA (Elect), Architect at Fergus Purdie Architects, Part-time Studio Tutor at the School of the Environment, University of Dundee Rowan Mackinnon-Pryde Architect at Reiach and Hall Architects, Associate AE Foundation Associate, Editor of Matzine Ashley Tosh Scott Sutherland School of Architecture & Built Environment, Robert Gordon University William Purdie University of Strathclyde
Water Tower, Nybster Image: Fergus Purdie Architects
Newspaper Venice event Scottish event
2014 ___
Group 3
OUTSIDERS (East Coast)
Outsiders looks at three works: the competition entry for Kirkcaldy Crematorium by Alison and Peter Smithson (1954); Gray’s School of Art, Aberdeen, by Michael Shewan (1966); and Andrew Melville Hall, St Andrews, by James Stirling (1967). These works mark the beginning and the end of a productive and creative period of architectural output in Scotland. However, they all sit outside the dominant framework of Scottish modernism, which was strongly influenced by Scandinavian planning and architecture and England’s polite ‘new empiricism’. In different ways they were all striving to evoke some kind of generalised and international architectural language to suit contemporary culture and needs. Outsiders was prepared by the following group: Samuel Penn Lecturer in Architecture, Scott Sutherland School of Architecture & Built Environment, Robert Gordon University, AE Foundation Co-founder and Director Dr Cameron McEwan Lecturer in History and Theory of the City, Architectural Design Tutor, AE Foundation Associate Penny Lewis Lecturer in Architectural History, Scott Sutherland School of Architecture & Built Environment, Robert Gordon University, AE Foundation Co-founder and Director Hugh Lawson Scott Sutherland School of Architecture & Built Environment, Robert Gordon University Volha Druhakova Scott Sutherland School of Architecture & Built Environment, Robert Gordon University
James Stirling, Andrew Melville Hall (1964-68) Axonometric (2014) Image: AE Foundation (Cameron McEwan)
Newspaper Venice event
2014 ___
Group 4
OUTSIDERS (East Coast)
Outsiders looks at three works: the competition entry for Kirkcaldy Crematorium by Alison and Peter Smithson (1954); Gray’s School of Art, Aberdeen, by Michael Shewan (1966); and Andrew Melville Hall, St Andrews, by James Stirling (1967). These works mark the beginning and the end of a productive and creative period of architectural output in Scotland. However, they all sit outside the dominant framework of Scottish modernism, which was strongly influenced by Scandinavian planning and architecture and England’s polite ‘new empiricism’. In different ways they were all striving to evoke some kind of generalised and international architectural language to suit contemporary culture and needs. Outsiders was prepared by the following group: Samuel Penn Lecturer in Architecture, Scott Sutherland School of Architecture & Built Environment, Robert Gordon University, AE Foundation Co-founder and Director Dr Cameron McEwan Lecturer in History and Theory of the City, Architectural Design Tutor, AE Foundation Associate Penny Lewis Lecturer in Architectural History, Scott Sutherland School of Architecture & Built Environment, Robert Gordon University, AE Foundation Co-founder and Director Hugh Lawson Scott Sutherland School of Architecture & Built Environment, Robert Gordon University Volha Druhakova Scott Sutherland School of Architecture & Built Environment, Robert Gordon University
James Stirling, Andrew Melville Hall (1964-68) Axonometric (2014) Image: AE Foundation (Cameron McEwan)
Newspaper Venice event
2014 ___
Group 4
Reflection
The final newspaper was completed after the events in Venice. It contains a brief recap of both the overall Architecture Biennale theme, Absorbing Modernity 1914–2014, and Scotland’s Past + Future, including an outline of the four groups’ work. The major piece in the newspaper is a reflection on the Biennale itself, Scotland’s contribution and the trials of attempting to curate, ending with a So what? What now? Is it worth having a presence at the Biennale? The groups were also asked to reflect on the Biennale, their experience, their event and any themes or directions for future research.
Nordic Pavilion, Giardini, Venice Biennale Sverre Fehn 1962 Image: Ian Gilzean
Newspaper
2014 ___
PAST + FUTURE
Reflection
The final newspaper was completed after the events in Venice. It contains a brief recap of both the overall Architecture Biennale theme, Absorbing Modernity 1914–2014, and Scotland’s Past + Future, including an outline of the four groups’ work. The major piece in the newspaper is a reflection on the Biennale itself, Scotland’s contribution and the trials of attempting to curate, ending with a So what? What now? Is it worth having a presence at the Biennale? The groups were also asked to reflect on the Biennale, their experience, their event and any themes or directions for future research.
Nordic Pavilion, Giardini, Venice Biennale Sverre Fehn 1962 Image: Ian Gilzean
Newspaper
2014 ___
PAST + FUTURE