73/01 Fieldwork Research: Design & Research Unit (DRU)

73/01

FIELDWORK RESEARCH: DESIGN & RESEARCH UNIT (DRU)

AVRIL BENNIE 1

Fieldwork Research – Year 4 Design & Research Unit (DRU) Avril Bennie: 080002485/1 MODULE SPR/SCJ: 2013/14 DRU Paper (International)

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“To be influenced is to be open to a new way of thinking...the art of making...�

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A. Bennie, (Authors own, 2014)

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CONTENT

Preface (including proposal & question)

Page 5

Introduction

Page 6

Chapter 1: History

Page 7

Chapter 2: International

Page 11

Chapter 3: School of Thought

Page 14

Chapter 4: Leather House, Meadowland

Page 20

Chapter 5; Object and Collective Exhibition

Page 24

Chapter 6: Theories & Conclusion

Page 28

Figures

Page 29

Bibliography

Page 60

Appendix Appendix A

(Interview with R. Steedman)

Page 68

Appendix B

(Perspective)

Page 69

Appendix C

(Small Publication – Fieldwork, 73/01)

Page 71

Appendix D

(Modern Architecture International Exhibition)

Page 72

Appendix E

(Questionnaire)

Page 74

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PREFACE Space is a fundamental tool for architects. Space may be considered at different scales and points within history.

This method demonstrates the connection between a place and its relevance in time to society and the need for design to relate to the person and environment which surrounded them.

The examination of different uses of housing at the same scale helps identify the true origins of Leather House, Meadowland and the connections and developments the design has had within society as well as both its surrounding and immediate context.

The reference to scale used in particular is: 1.

Detailed Study of Architectural Themes – 1:200 (Case Study)

Each study is shown at the same scale so a difference or similarity can be seen in plan. Thus a clear transition can be seen between the themes in relation to the site/era and form of Leather House, Meadowland.

Leather House, Meadowland is a house located in Perthshire, Scotland. It is one of the earliest founding cities recorded in urban developments in Scotland. By developing an interest to find out why such a building had an effect on Scottish culture of living and building, an evaluation throughout this study can be formed.

By having access to a live project the ability to research in depth the architectural design of Leather House, Meadowland. By looking into a key history of the type of housing, (case study, sociology, politics etc) and the architects of the time who influenced the house’s founding design development.

Therefore an understanding of why it is such an area of importance and why it has become a listed building allows for the knowledge of what factors need to be kept, so the essence of the design keeps true to its origin.

Discuss Leather House, Meadowland and how the value of themes and key rules of practice affected its development with reference to then and now in today’s society.

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INTRODUCTION

“” A fine and little-altered example of the work of Morris and Steedman Architects”.

– (Mr & Mrs Leather, 2013) James Shepherd Morris (1931-2006) and Robert Russell Steedman (b. 1929) established a working collaboration in the 1950’s. They’re works influenced the way we live today, they are better known for their private houses in the modernist style, built in the 50-60’s. Described by Morris as “arguably the most important series of 20th century houses by a single practice in Scotland” -

(Elaine Hardwood, Independent Newspaper, 2006)

The two met while studying at Edinburgh College of Art (ECA). They were encouraged to do a ‘Masters of Liberal Arts’ in ‘Landscape Architecture’ at the ‘University of Pennsylvania’ in Philadelphia. Under the guidance of Philip Johnson; the methodises of Richard Neutra (particularly the Case Studies in California), Marcel Breuer and Ludwig Mies van der Rohe fuelled the two, to embody a new perspective on creating architecture (which had a bearing on their early designs.) (Prospect, 2005) Also during this time they won a travelling scholarship to Europe, where in Zurich, they met Siegfried Gideon. This influential man opened the door for Morris and Steedman to go out and discover a new architectural style of intrinsic simplicity and functionality of the house, and the close relationship with the formal garden, which was widely seen in Japan. The RIBA, in 1955, elected Morris and Steedman as associates and the two joined partnership and established a firm in Edinburgh, 1957. (Edinburgh Council, 2010) The work that they accomplished over a lifetime dedication to the career is rewarded with many of their buildings being listed in the ‘100 best modern Scottish buildings’, published by ‘Prospect’ magazine in 2005. Both Morris and Steedman retired in 2002; however the practice, now ‘Morris and Steedman Associates’ still functions within today’s society and ever changing architectural style.

Thus the research into the discovery of true design principles and the value of themes that are developed universally but still able to depicted a character of an era.

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CHAPTER 1: HISTORY

“...the conflicts that obtains between the two elements of construction, solidity, and open space.

Everything seems to show that the principal of free space will prevail, that the palaces and houses of the future will be flooded with air and light.” – Philip Johnson, (MoMA, 1928) Therefore a need is seen within society from an early age where the recurring attempts to achieve and impose a controlling style in architecture is formalised. There were many ‘styles’; the idea of ‘styles’ implies a choice. (Appendix D) Architecture in Historic Times Ancient Egypt

3,050 BC

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900 BC

Classical

850 BC

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475 AD

Byzantine

527

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565 AD

Romanesque

800

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1200 AD

Gothic Architecture

1100

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1450 AD

Renaissance Architecture

1400

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1600 AD

Baroque Architecture

1600

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1830 AD

Rococo Architecture

1650

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1750 AD

Neoclassical in Architecture

1730

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1925 AD

Art Nouveau Architecture

1890

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1914 AD

Beaux Art Architecture

1895

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1925 AD

Neo-Gothic Architecture

1905

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1930 AD

Art Deco Architecture

1925

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1937 AD

Modern Styles in Architecture

1900

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present

Post-Modernism in Architecture

1975

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present

Confusion is seen over a hundred years of ‘style vs. new construction’ and the inherent ability to show no true integration. That it is just decorated architecture, that hasn’t been able to implement its conceptual idea. A distinct separation was seen between the development of engineering in buildings of

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the classical and medieval style. Thus the dissatisfaction at the end of the 19th century and the giving ‘style’ a bad name.

“The individualistic revolt of the first modern architects destroyed the prestige of the style ,” but it did not remove the implication that there was a possibility of choice between one aesthetic conceptions of design to another. (Giedion S. , 1967) The revolt from stylistic disciplines to extreme individualism at the beginning of the twentieth century was justified as the surest issue from an impasse of imitation and sterility.

Once individualism set in, the classical rules were lost and inconsistency was seen. Thus the new introduction in a single style with an aesthetic conception, on which its disciplines are based, derived this experimentation of the individualistic.

By seeing a predominant use of certain disciplines being carried through the history of architecture it’s obvious to see that each era strived to better themselves. However it’s the evidence of gradual innovators throughout the world who have successfully experimented and established further rules of principal. It highlights the ongoing mix of having an inherent style of your time and the need to break away from it to develop as art, technology, personal need and people change.

There is now a single body of disciplines, fixed enough to integrate contemporary style as a reality and yet elastic enough to permit individuals interpretation and to encourage general growth. Principles are few and broad for this reason: -

Volume rather than mass

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Regularly rather than axial symmetry as ordering design

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Proscribing arbitrary applied decoration

However it will be the directness to immediate context in each case that makes a design unique. (Art & Architecture, 2014) The move from structure to function, as seen in previous eras, being more a matter of principal rather than a matter of practice.

Thus as highlighted above; it appears as a common denominator of the revivals is fuse with the new science of building. Each architect broke away in his own way with the immediate past; each sought in his own direction the positive elements, which have been combined in the last decade. But no real stylistic intervention was seen until after the war. The catalysts of the war changed people’s attitude and behaviour toward old habits. New thinking brought the needs to rebuild society to repair and create a new world as a new appreciation of life had been highlighted.

A great development of the domestic house was seen in Frank Lloyd Wright. His plan broke the mould of the traditional house, to which Europe adopted. (Design Museum, 2013) The first conceived architectural design in terms of exiting freely in the dimensions rather than enclosed blocks. (An aesthetic 8

experimentation, which saw an expression of structure and achievement of positive form.) It became the introduction of Wright to reuse the disciplines of original theories. Beginning again with a different material or a different problem and always arriving at a different conclusion.

Hence the realisation that over a time the restrictions of development within a ‘style’ could be limited as you must use the correct material. Then the question of un-true form if you strive and change material, that it becomes a new style (a merge of only the strongest principal from a style which is always passed down generations) a move again in society to express themselves.

Architects have submitted in part to the discipline of the international style but there work is still marked by traces of the individualistic manner they achieved in their prime. This is because of personal interest, the need to experience, try for themselves, and self discovery of what is possible (inerrant to architecture at that time.) The need to think differently to achieve something new is always necessary but you can’t do this if you all think and design alike. The need to have your own characteristics or a governing personal style is a need for discovery. Without it, it would only ever be similar variations of the same...a process of discovery.

“A dichotomy of the sprit, more profound than any mere style can ever resolve.” – Henry Russell Hitchcock, (MoMA, 1928) The case against individualism in architecture lies in the fact. Wright has been alone in American advancing a distinguished style while in Europe it’s a collective. But the difference with ‘style’ is it’s always a group/collective who established it. The individualism, Wright in particular with his own personal discovery, takes an aesthetic that is globally portrayed now. The individual is hardly ever satisfied. The group, confine themselves so to a lesser or greater, which should serves some satisfaction in creation or creating.

New style after the war was greatly helped by the propaganda of Le Corbusier and why Morris and Steedman (Breuer in part) were influenced by his abilities to command all aspects of experimentation into one and then crystallise it and further dramatise the style. (Youtube, 2012) The link with art styles (purism and cubism) perhaps inspired Le Corbusier to formalise new architecture (working architects and artist in tandem.)

Mies in 1922 designed a country house, which broke with the concept of the wall as a conscious plane surrounding the plan and built up his composition of section and intersection plane. (Lambert, 2001) This new conception, that building is science and not art, developed as an exaggeration of the idea of functionalism. From Greek to Gothic structure and function – the aesthetic even development on the technology, more economical rather than ethical or archaeological.

Art at that time saw the introduction of exhibitions and the presenting of art in the home. If a client wanted a certain building, they’re architect designed a space to suit their demands with no consideration 9

to design, aesthetics and budget. Morris and Steedman however had a function for place more than programme and a moral to design better spaces with consideration to the surrounding landscape and budgets for they’re client.

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CHAPTER 2: INATERNATIONAL Clement Greenberg 1948 (MoMA , 2011) – Abstract Expressionism Critics described what would become a defining characteristic of advanced, post war painting as “a persistent urge to go beyond the cabinet

picture, which is destined to occupy only a spot on the wall, to a kind of picture that, without actually becoming identified with the wall like a mural, would spread over it and acknowledge its physical reality.”

The link with artist such as, Jackson Pollack, Barnett Newman and Mark Rothko who collaborated with Tony Smith, Peter Blake, Marcel Breuer, Philip Johnson and the likes of Richard Meier’s, sees a significant influence/impact on art and architecture forms. The impact was so key to the development of art within architecture and the way in which architects saw space to create with it. Often the architecture destination can be seen as encouraging the size of their canvass, but as such, the paintings also began to emulate the architectural surface.

Newman stresses that art which states to accommodate itself stylistically will deliver a modern interior architecture for flat, clear surfaces and strictly parallel divisions.

(Architecture) expansive surfaces, planes/the mimicking of desired space (Art) physical size and scale (material density) mimicking architecture Thus the idea to create a sense of space quite apart from depicted space, physical presence or materiality raises a precise sense of place. (Pollock’s) “poured” paintings frequently possess an opacity that makes them visually un-penetrable. (Guggenheim, 2014) The colours choices (black, brown, grey and green) tend to make the compact network of linear ‘skeins’ perceive a surface rather than pull back into recess space. The opacity is heightened by the thick application of paint and the crisscrossing ebb and flow of the various painting materials which layer on top of one another which also lends the canvas to a degree of tactility, that makes it almost less painting and more object.

The integration of art and architecture created a new attitude for designing, a purpose for space.

Newman states; “the basic issue for a work of art, whether its architecture, painting, or sculpture, is first and foremost for

it to create a sense of place.” - (CCA, 1991) Newman highlights how photographs can be used to illustrate the intended effect of painting, one might experience ones awareness of one’s physical being while in front of ones paintings which develop on to his ‘Zim Zim I’ – a walk through piece.

Throughout the 40s and 50s, architects sought ways to synthesise theory to the dimensional and the abstract within a three dimensional architectural world. By place making for art, the large, abstract expressionist painting work best in unframed, un-crowded, and un-carpeted spaces. So that others could 11

experience it by being part of it. Dividing space within canvasses (spectator found themselves in a closed environment, involved within the painting.) Hence work could be hung which made the paintings more like objects almost acting as if they were walls themselves (free.)

By seeing architecture as a discipline, it took a secondary seat when art became the functional reason to designing however to create such an in tune atmosphere, needed the understanding of the direct effect which was now being created. This integration and harmony lead the way to better appreciation of space and a true sense of purpose for its usability. Morris and Steedman were concerned with this response to making true the intent.

Newman’s ‘Zim Zim I’ (Jesean, 2013), a walk-through sculpture that adopts a pervious design for a synagogue’s ninety-degree windows and allows the viewer to experiment/experience specific space and place as they walk through its shifting walls – experience art (close links to what architecture relays in building and capturing space.) It could be considering as painting in three dimensions, “elements which

recede and approach one’s physical person.” - (MoMA , 2011) Rothko Chapel takes an inherent step to merge function and place with experience: (Times, 2005) His painting takes on the scale and tectonic opacity of architectural plane to such a degree that the paintings do not so much eclipse the architecture as the central focus of the room as they become the architecture. Which was rooted in the Bauhaus ideologies which Breuer’s education installed in him; which in turn influenced his research and Morris and Steedman’s choice in design. During the 30s Breuer (Le Corbusier, Mies van der Rohe, Walter Gropius) are responsible for the development of a modernist architecture style in America as a collective force, as well as a mere general modernist ethos, which was transferred to Morris and Steedman. The philosophies advocate the abandonment of narrative and historical elements.

A modernist wall itself conceived of as a ‘pure’ surface and undecorated. A trait seen fondly in Breuer’s early work, as well as Morris and Steedman.

The Museum of Modern Art (MoMA) played a part in the 1951, organization of “How to combine architecture, painting and sculpture” designed to encourage artist and architect to integrate the disciplines particularly during the 30s, MoMA exhibit architecture along side art and sculpture. A great attempt to bring together the arts was seen. Society wanted galleries to show artist and architects collaborating together throughout the 40s and 50s, a trend which established a deeper understanding into the arts. It was primarily due to the affirming trend and discovery that the disciplines of the creative field were conjuring up. (Archdaily , 2013) It no longer could just produce a single entity of work from just one field, they had to be understood (experimented with) and read collectively to create a great appreciation of form creation.

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This was at least partly in response to the fact that those who collected abstract expressionist painting also commissioned modernist houses...an illustration of how the expansive walls of modern houses could become natural sites for large paintings. Trends in modern architecture, it appears, promoted the transformation of painting from a window in the wall to a wall within a window.

Pollock (and Peter Blake in collaboration, in 1922) was the first post war artist to work directly and eagerly with modern architects and support his paintings in modern architectural settings. (Art & Architecture Quarterly, 2012) Blake based the museum ‘2x4m’ on Mies van der Rohe’s 1942 ‘Ideal Museum for a small city’ which in turn created the ‘Barcelona Pavilion’. He fashioned 8 miniaturized versions of Pollock’s ‘paintings’ that stood as freestanding walls or supported from the ceiling, forming both architecture and exhibition. As such they became integral to the architectures design.

The idea that Rothko could depict the setting to view his art (collaboration with Tony Smith in 1954: Rothko Chapel), unlike the ‘supermarket’ environment he found in most museums. (Archives of American Art, 2014) An eight sided round room encouraged the visual surroundings for his paintings. The paintings are simultaneously visually apprehended through the viewer’s peripheral vision even when looking at a single canvas frontally. Also a keen awareness of the painting behind is noticed and the physical act by moving though an interior space to view his art. Rothko’s painting in the chapel insists the viewer to slowly become conscious of their own size, being, and presence within the space.

This new format conveys a geometrical exactitude that harmonizes with the interiors stark, linear, and subdued architecture. The painting impacts a sense of opacity that plays a part in the materiality of the work. This generation of artist, the minimalist, began to shift the emphasis of their work from two to three dimensions by producing what Donald Studd described as “ specific objects”. (MoMA , 2011) That we exist in relation to our immediate surroundings and that we know ourselves only in relation to what we touch and perceive. Equally also introduced the concept of ‘being in the world’ which points to the essential fact that we need to know ourselves, and the world around us, in relation to our own bodies.

That people had started designing to house they’re art at home which moved on architecture to design spaces with a fundamental purpose for an object which in turn becomes part of the fabric of the building for people or the individual. The fundamental experience of the home had changed. People could choose how they wanted to live and move on from traditional design. Housing was a strong topic of new discovery and an area of need which had to be addressed (the new domestic environment.) Breuer and Morris and Steedman were able to see this inherent change in pattern, within society, due to their exposure on an international level, but the introduction of different arts helped develop their ability to design at such a speed. (Appendix B) They had a natural approach in how to deal with designing for a new market place with consumer wants.

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CHAPTER 3: SCHOOL OF THOUGHT The work of Morris and Steedman can only be truly appreciated once you fully understand the impact that the work of Marcel Lajos Breuer had upon them and their practice.

Breuer is said to be one of the fathers of Modernism (along with Frank Lloyd Wright, Le Corbusier and Mies van der Rohe), but truly seen as an inventor. (Bruce Brooks, 2008) He expresses a joy and interest in design;

“it made me interested in polished metal, in shiny and impeccable lines in space, as new components of our interiors. I considered such polished and curved lines not only symbolic of our modern technology but actually to be technology.” – Marcel. Breuer, (Indesign, 2014) An influential leader in design of the twentieth century, he regarded himself first and foremost as an architect, an inventor, seen as the designer and architect, Marcel Breuer (1902-1981) was born and raised in Hungary. He studied at the Bauhaus where he went on to head the furniture workshop from 1925 to 1928.

He was an artist. He was the best teacher I ever had. All the other were Bauhaus ideologues .

– Philip Johnson, talking about Marcel Breuer. (TASCHEN, 2014) When one thinks of Breuer, the Wassily armchair (inspired in part by the streamlined shape of his bike in 1927), the Bauhaus stool or his famous cantilevered tubular steel chairs (Cesca was his greatest commercial success and the B35) quickly come to mind. (Arnt Cobbers, 2007) Most of his work was mass produced by the Thonet Brothers in Germany.

These items have become representative of the design philosophy and domestic culture of an entire era.

The aluminium and moulded plywood pieces from the 1930s also attained historical international significance and had a lasting impact upon succeeding generations of designers. (In particular, the use of contrasting materials and distinctive interiors.)

His ability to create, seen pacifically in the ‘Laccio Tables’, aided his approach to modern living, where affordability and function are considered essential principals for designing.

Breuer considered building to be the primary aim of his work. After halting attempts in Europe and (beginning in 1937) the USA, which was largely due to the Great Depression and World War 2, his architectural career gained considerable momentum toward the end of 1940. The collaboration of Walter Gropius with Marcel Breuer seen Breuer flourish into establishing his own architectural firm in New York, 1946; concrete became his choice of medium. (KnolStudio) It seemed that Breuer used a different material for a different purpose or creative discipline, to establish its use and ability to be transferred between object and shell formation in designing. His work seems to have a commitment to a belief in the power and utility of modern design. Breuer succeeded in expanding and refining the architectural 14

vocabulary of modernism, first with the building of single-family homes and villas. Beginning in the fifties, he was able to realize a number of prestigious large-scale projects, such as the UNESCO headquarters in Paris, the IBM research centre La Gaude in southern France and the Whitney Museum of American Art in New York. Until 1976, when he withdrew from professional work for health reasons, Breuer was one of the most successful and internationally renowned architects of his time.

The most important part of his design career was already completed when his activity as an architect.

Breuer, consider his buildings and furnishings to be completely linked with one another, with emphasis on construction, the interaction of individual components, or in the attention to detail. (For example the emphasise he had on prefabricated housing and the use of concrete in building stem from this articulation.)

In contrast to Walter Gropius, Breuer was less obsessive towards Modernism. Rather, his work began to create the evolution of modern design principals. Breuer was one of the first architects to use highly textured materials such as wood and untreated stone, which have become main characteristics of regionally influenced design in the post war era. (The Independant , 2014) The expressive forms he used were striking; the origins of sculpturing, almost moulded facades highlighted his ability to apply the effects of light and shadow, and stand up to a comparison with Le Corbusier contemporary work. But Breuer’s influence on the development of the single- family home presented in the garden of the New York Museum of Modern Art in 1949, and with villas constructed in Switzerland, would be the outline to fundamental design principals internally used. Breuer found solutions and created a new generation of investigation within the twentieth century for domestic building.

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GANE’S PAVILION: Bristol, England by Marcel Breuer (collaboration with Francis Reginald Stevens Yorke) - (Gane Trust, 2012) In 1934, Breuer designed the Doldertal Apartments in Zurich for the Swiss architectural historian Sigfried Giedion. From 1935 to 1937, Breuer settled in London, and became partners with F. R. S. Yorke. During this time he designed for the Isokon ("isometric unit construction") Control Company laminated plywood furniture that became widely imitated. This collaboration brought about The Gane’s Pavilion.

The Gane’s Pavilion in Bristol and the UNESCO Building were named two buildings which Breuer was particularly proud of. (AJ, 2010) The small exhibition building, constructed for The Royal Agricultural Show in Bristol in summer of 1936, was indicative of what Breuer would later create. Already in the summer of 1935, during his first stay in England, Breuer had redecorated the private home of furniture manufacturer Crofton Gane near Bristol.

Gane then hired him as an artistic consultant to his company, P.E.Gane. One of his responsibilities was designing their trade fair exhibits. The four-room pavilion, built on a man-made mound of earth, fascinatingly combined fieldstone walls with large, segmented glass windows under a flat wooden roof with a dominant with cornice. By using “Cotswold Stone” (a honey-coloured limestone), Breuer drew upon a local building material and refrained, for the first time, from creating the taut, smooth, white walls that had been so characteristic of most early Modern buildings. He may have been inspired by his partner Francis Reginald Steven’s Yorke’s weekend house, which was built of the same material. Alvar Aalto and Le Corbusier, whose Villa de Mandrot Breuer has seen on his trip through France, had already worked with exposed masonry. In order to display the full range of the company’s products, the pavilion was laid out as a living room, bedroom, study and children’s bedroom, with neither kitchen nor bathroom.

The view of the house when approaching the entrance and its layout are reminiscent of Miles van der Rohe’s residential architecture. But closer examination clearly shows that Breuer sought to create a flow of open spaces inside, nor to integrate the interior and exterior paces by placing walls in what seems to be an unrestricted manner. The roof of the pavilion covered a simple rectangle and is extended only slightly further over the entrance. One narrow side slanted in at an angle, the exterior wall of the living room swung in, and the space between the living room and children’s bedroom was opened up as a terrace with a partially open roof. A pier, set slightly forward, served as a support roof. Two other walls extended out beyond the area spanned by the roof, providing the layout with a certain drama. Although its form could not be easily recognized, it was still a conventional block, and the walls made of masonry, glass and birch veneer plywood enclosed classically proportioned rooms. They only seemed to be so open because there were no doors and the floor-to-ceiling openings between the rooms were wider than conventional doorways. The building, which was torn down after a short time, was featured in many publications, as well as in the exhibition on modern British architecture at the MoMA in New York in 1937. It is key to note the implication of experimental architecture and how it only attempted to deal with one or two issues, a lot like the work of Richard Neutra with Art and Architecture. The ideology had a good foundation but the practical elements and satisfaction were to be fulfilled in years to come.

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Fig1 & Fig2

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HOOPER HOUSE 2: Towson near Baltimore, Maryland by Marcel Breuer - (Str.1, 2003) It is relevant to note that previously to the Hooper House 2, Breuer had developed the bi-nuclear, or "two-centre" house, which was designed to meet the living requirements of modern families by creating functional areas for separate activities.

Only a few years after creating a very daring structure for his own home in New Canaan, Breuer built a bungalow for himself and his family in 1951. Its flat roof rested on what appeared to be solid walls, which were clad in large blocks of field stone. This is the type of house that inspired the one Breuer designed for the Hooper’s in 1957, and which was built in a northern suburb of Baltimore by 1959.

(Breuer had already planned the renovation and expansion of their former, more traditional, house in 1949.) This second Hooper House is located on park-like site, and offers a view of a lake through the windows facing east. The New Canaan house owned by Breuer’s short-time partner Eliot Noyes, which Edith Hooper greatly admired, served as a model. Making use of dining areas, and simple fieldstone walls for the long sides (elevation) of the bungalow. The original model can still be recognized in the Hooper House, but some decisive modifications were undertaken. The massive, 131-foot-long fieldstone wall on the western side of the house has an opening from floor to ceiling in the middle, creating an entrance that is covered by a flat canopy. It leads into the hallway between the two parts of the house: the bedrooms, children’s bedrooms and the guestroom lie to the left; the living room, dining room and kitchen to the right. An inner courtyard separates the two parts. The rooms open onto the garden, to the east, through floor to ceiling windows with sliding glass doors. Atypically, the glazing is not interrupted by walls or windows frames, except for a fieldstone wall at the centre, parallel to the courtyard. It in turn has a large, rectangular opening that creates an interesting effect: from the forefront entrance it is possible to look through the double glass doors, the glass wall of the hallway, the inner courtyard, and the opening in the eastern wall and to see the landscape behind the house, without seeing any of the rooms themselves. The solid western wall has one drawback: the only natural light in the adjoining kitchen is through skylights. This also holds true for the children’s playroom, which is located at the interface between the western wall (stairway to the lower level) and the, also windowless, northern wall of the atrium. The garage and some small functional rooms are located on the lower level. It is open to the north, since the site drops off slightly. This lower level is set off to the northwest of the house itself, to which it is connected by a stairway and passageway. Relatively austere and abstract in its composition, the Hooper House is made more vibrant by the interaction between interior and exterior spaces, as well as the views of the landscape – and, not least of all, by the exciting contrast between the great areas of glass and the carefully textured fieldstone walls.

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Fig3 & Fig4

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CHAPTER 4: LEATHER HOUSE, MEADOWLAND Morris and Steedman due to their exposure during their scholarship aboard, found time to travel, during this time the architects, like Marcel Breuer, would have a profound influencing effect on the way the two men would chose to design.

Part of it was an instinctive way to respond to Scottish culture and building, but also the way in which other people wanted to live now, thus architects had to perceive and now design for. Morris and Steedman were practicing during a time of great change which called for them to approach designing differently. An approach which gave then an instinct direction or characteristic, which like the work of Frank Lloyd Wright and Breuer, who would start with a given material or a problem but always experiment and address it differently thus always reaching a different conclusion. (Youtube, 2011) This is true with Morris and Steedman. As their ability to design the site (place) was their principal. Hence why their catalogue of work is not stylistic but has variety. It was caused by the need in style and society for a function to be established for building, art, architecture and technology must merge and respond in sync with one another. You can see this with the plan of the Leather House, Meadowland. The cultural influence is key to its progression in plan form.

This progression was mostly due to a commitment by the public sector to address poor housing conditions and improve public health which transformed Scotland after the Second World War. (Edinburgh Council, 2010) Modernism in architecture and design was closely linked with this widespread faith in reconstruction.

The practice of Morris and Steedman is recognised as a pioneer of modern architecture in Scotland, Leather House, Meadowland demonstrates a number of characteristics that are commonly found in Morris and Steedman’s subsequent work and are typical of their approach to design. However the firm due to success became known for just these elements of design. The architectural form is modern, while the use of high walls and local stone creates a Scottish emphasis and a sense of shelter. The practice considered that the choice to use a courtyard (or patio) which merges into the landscape was a particularly Scottish feature of design. The building and its landscape setting have been designed as a whole. Internally, the imaginative use of space and use of timber panelling for ceilings also characteristics of the architects. (Appendix A) Morris and Steedman have been praised for their house design as they pay close attention to spatial relationships, to the site, the sun and neighbouring houses. Leather House, Meadowland is one example of the integrity of their designs for individual houses produced by the firm.

In the beginning years, both architects studied landscape architecture; this had a profound impact on their thoughts relating to designing, where they also studied under Philip Johnson, the renowned American modernist architect. The architectural influences that the pair was exposed to included the 20

works of Mies van der Rohe, Marcel Breuer, Richard Neutra and the then ongoing Art and Architecture Magazine’s Case Study Houses series which showcased American Architects’ low-cost modern housing.

(Art & Architecture, 2014) This was to be crucial in their later work back in Scotland, not least in their overall approach of sensitively supplying modernism in a variety of landscape settings.

Meadowland House was the product of early established work by Morris and Steedman in 1964.

The couple Mr & Mrs Leather had selectively chosen the firm as they’re ideologies and aspiration met, one being for young professionals on a modest budget. Each proposal was a bold statement of intent which responded to the site and the wider landscape in which placed. The climate of Scotland was always in mind thus traits of traditional Scottish architectural forms were injected into designs. The clients were very much the key to the firm’s success as they could propose designs seeking to maximise the functionality and practicality of the home. Key objectives were transparency, solidity and the articulation of movement between public and private realms. Prominent roof lines and genomic shapes were seen as to utilise the low Scottish light, bringing a formalist architecture to life.

“Collectively, Morris and Steedman’s early houses adhere to a set of clear principles which provided the foundation to allow remarkable diversity to form and treatment and continue to prove influential and enduring to successive generation.” - (House and Garden, 1963) Meadowland is a relatively well protected compact linear house with its principle expanse of glazing and brick running parallel with the river Tay which over look Perth’s North inch, making use of the light and views on offer. The building itself is hidden from the street by the massive rubble wall and the strong horizontals to the roof, vegetation and surrounding environment. The single storey building was designed to provide the occupants with plenty of contact with the surrounding landscape. Whilst being long and slim, the roof gathers at one end point to provide clerestory windows which were designed to feature the Scottish morning sun for the client and provide additional light to the living area. This design move takes its inspiration from the contemporary ideas of Richard Neutra (Art & Architecture Magazine). The guest bedrooms are almost pavilion-like extensions which are linked to the main body by way of a glazed corridor (almost like a conservatory link conceived as a covered outdoor space unheated, likened by Steedman to an Italian piazza, realistically reconceived for the Scottish climate. (RIAS Quartery, 2010)) Sliding and folding doors can be used to separate the living room off from the adjacent study and dining area housed in the main body of the property. Morris and Steedman embarked on commission which were seen to be radical in Scotland post war. The trace elements of international influences can be seen in all of their work, and especially with Leather House, Meadowland. Their fundamental principals were moderate and affordable but reflected its site, user and time however as the practice developed the character of the building shifted, early work like Leather House, Meadowland reminiscent of Breuer’s American houses, later work Alvar Aalto as environment over function took its roll. Like Breuer, Morris and Steedman were accomplished and innovative with their work. What the two men did was showcase the modern features such as flat roofs, large plate glass windows, under floor heating, patio doors and

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kitchen hatches, but more so with the departure from traditional Scottish housing and the contemporary suburban villa. The very concept of the living room was re-imagined. Thus the prototype to speed the improvement of social housing. The idea that the focus was on the house being the hearth within the main living space, freely surrounding the user in landscape and purpose built spaces. The living space was no longer a box for compartmentalising activities, that the activities could split into space and be a working entity to living rather than a wall formation or fortress. The social spaces, the living spaces sit centre of the plan to allow this flow. The corridors re-enforces this. Meadowland is a narrow urban plot necessitating an inward, flanked by living and sleeping wings, and linked by a dramatic long corridor which acts as a gallery to the landscape. The use of horizontal, east to west preserve the privacy of space highlights another key aim for direct architecture and simple spaces able to accommodate eclectic collections of furniture and art.

This zoning of living and sleeping is adopted in many of Morris and Steedman works However Leather House, Meadowland prompted a recti-linear stepped design under a mono-pitch roof, which could only be taken from its individual site restrictions.

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LEATHER HOUSE: Meadowland, Perth by Morris and Steedman

Fig5 & Fig6 23

CHAPTER 5: OBJECT AND COLLECTIVE EXHIBITION (Appendix C) With the development of Morris and Steedman and Leather House being a project, which I had access to. I chose to start picking out the key principals Morris and Steedman designed with that reflected the climate they were designing in and equally how, specific place, international themes and own (client) affected the overall project. (Appendix E) By splitting up the house into the key views after visiting the property I took the elements and redrew four key perspectives. I could within the perspective, single out each aspect in theory: Scottish lighting Link to environment Scale Material Simple home life Practical open plan living But also what was unique to era and trend. For example colours, visual planes and objects that had to be incorporated into the space. The relationship between artistic disciplines, and an individual within a given environment. The clients themselves fitted into the category of collectors of art for the home, and the house had to have a response to housing certain pieces but also keep the nature and quality of a home.

To develop this investigation further I re-established my understanding of the plan and related it back to works of Marcel Breuer to see how the plan had established its key themes and principals. It helped highlight how Morris and Steedman had designed, and why they’re approach to designing took a queue from international themes which were present. (Giedion S. , 1971) But Morris and Steedman were taking the fundamental element and adapting it too its client and place instinctively. By doing this research I suggested how one might design for the now. Thus the importance within the group to exhibit as a ‘collective’ to help visually engage the viewer in our work.

By presenting as a group a real sense of interaction was necessary, thus the use of a cabinet and supporting exhibition material to support each individuals response to initial research.

The tangible element of the home was a strong principal and adopting our objects to be seen as a collective so our viewers could register with the era and domestic nature of the project. (Blouin Artinfo, 2014) The direct approach was to highlight Morris and Steedman’s technique but also give incentive to place and place making (of objects).

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By housing the objects we responded to the effect that technology had on architecture and design and how the home had developed to also house objects, which had a specific place to be used and stored.

Equally how the home was accessible like the exhibit. That the relationship between ones being, the recede and approach. This behaviour then links into how the class of that time started to design, with a true ability to identify with the era in mind.

This allowed for a vast development within architecture, and particularly housing, after the world wars.

The development of each mans’ understanding and style within architecture had a ripple effect, which in turn influenced the work of Marcel Breuer and other fellow architects like Le Corbusier. (RIBA, 2014) Morris and Stedman practiced in Scotland however a clear link can be seen from the work of the above architects. The true themes and ideals are depicted in all of their work, which was finely tuned to they’re clients. This individualism is a key concept in they’re theory. It helps show how Morris and Stedman identify with they’re era.

People at that time were changing their life styles the introduction of import and exporting allowed for a demand and popularity to begin (fashionable items). The range in style and availability of materials and products drastically thrusted its way into the living rooms of society. Everyone was growing and benefiting. Class within society was changing too and thus in housing. The discovery of the development of the before ‘busy’ plan in housing, started to see a stripped down version which had no servant quarters and no hierarchy of levels.

People were concerned with practical living (which the technology aided), open plan, all on a ground floor for a sense of connection to the landscape and deep sense of place.

By removing the class

division and having the technology to do so meant a practical adaptation of what the common house was. This allowed for the design to focus on the ‘fundamental form, which was the individual, and that there was a place for everything and everything had its place’. (Youtube, 2012) Everything within the house was maintainable giving a sense of ownership. That form is seen through the physical view of the building.

The ideal of technology, functionalism and placement for products was

rooted in the works of the architects, each had a drive for furniture design particularly Frank Lloyd Wright and Marcel Breuer, which in turn effected the architecture and interiors, which reflected the themes and fads of the time but most importantly the essence of the client and how an individual was enlighten to go on and educate themselves in all aspects of living.

Thus highlighting on the need and response of the person in society and the importance of technology vs. functionalism within the understanding of architecture to push it forward and have a greater integration (and experiment in all artistic disciplines to achieve it.)

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OBJECT: Plan of Leather House vs. Plan Marcel Breuer. Avril Bennie

Fig7 26

COLLECTIVE EXHIBITION: Dundee by 73/01 Field Research, Fergus Purdie DRU Group

Fig8

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CHAPTER 6: THEORIES & CONCLUSION The act of what was the past and always taking the key principal that was passed down and experimented with to allow it to evolve. The need of influence for all disciplines is necessary but also the characteristics of place and time. With the knowledge and determination to create something that is unique, and reflects a functional need to inhabit a space for a purpose.

This development of a single project with a unique formula can be over a gradual build up in society can deal with what society required without effecting the grain of the place original and add a build up which is suited and takes the next part of the story of use as humans, building our environment.

Within this study, I have highlighted how other architects, designers, artist and critics have looked on the time they were working in, and how it affected them and what was to be achieved from they’re work.

It is important to study their achievements. As seen in the distilled version of a plan, or one of the disciplines which repeat throughout history. The idea of integration has more of a choice to be well suited to a thought process of designing.

Morris and Steedman take a directness to respond to place and function. They strive to better and use new technology like Breuer. This want to always discover or be open minded, and not restrained to rules of a given style, allows for a natural development.

The understanding of this allows one to take this approach into designing as a starting point to reflect a current culture, but which supports a personal style/character but is a starting block to experiment, to create something that is different and more in tune to its brief by approaching it in a different manner.

That greater research can lead to better development and responding to the past and using it as a key fundamental in designing.

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FIGURES Fig1 – Marcel Breuer, Gane’s Pavilion Image

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(Arnt Cobbers, 2007) Fig2 – Marcel Breuer, Gane’s Pavilion drawing of Plan

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Authors own – analysis research (Authors Own 2014, unpublished) Fig3 – Marcel Breuer, Hopper House 2 Image

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(Arnt Cobbers, 2007) Fig4 – Marcel, Breuer, Hopper House 2 drawing of Plan

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Authors own – analysis research (Authors Own 2014, unpublished) Fig5 – Leather House, Meadowland Image

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(Steedman, 2013) Fig6 – Leather House, Meadowland drawing of Plan

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Authors own – analysis research (Authors Own 2014, unpublished) Fig7 – DRU Object: Scale study Leather House vs. Gane Pavilion

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Authors own – analysis research (Authors Own 2014, unpublished) Fig8 – DRU Collective: Pamphlet Layout

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73/01: Fieldwork DRU Group (The University of Dundee 2014, unpublished) Fig9 – Jackson Pollock in front of unpainted canvas for ‘Mural’ (1943)

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(Paris Photo, 2013) Fig10 – Fitz Bultman in his province town studio (1949)

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(Roedel, 2013) Fig11 – Piet Mondrian’s studio, Rue du Depart, Paris (1931)

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(Elffers, 2005-2014) Fig12 – Jackson Pollock, ‘Mural’ (1943-44)

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(Visual Arts Encyclopedia, 2014) Fig13 – Jackson Pollock, ‘Alchemy’ (1947)

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(Guggenheim, 2014) Fig14 – Geller House, Marcel Breuer drawing of plan and placement of ‘Mural’(1945-50)

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(GellerHouse 1, 2014) Fig15 – Fred Olsen’s Sn’s House

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(Times, 2005) Fig16 – Jackson Pollock’s Blue Poles installed in Fred Olsen’s Sn’s Studio

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(MoMA , 2011) Fig17 – Jackson Pollock and Peter Blake with the Ideal Museum Model (1949)

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(Blog at World Press.com, 2008) Fig18 – Ideal Museum reconstructed model (1995)

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(Art & Architecture Quarterly, 2012) Fig19 – Installation view of Jackson Pollock (1955)

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(MoMA , 2011) Fig20 – Installation view of Jackson Pollock (1958)

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(MoMA, 1928) Fig21 – Barnett Newman’s interior view for a Synagogue (1963)

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(Barnett Newman Architecture, 2014) Fig22 – Barnett Newman’s Model for a Synagogue (1963)

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(CCA, 1991) Fig23 – Barnett Newman’s ‘Zim, Zim I’ (1967)

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(Jesean, 2013) Fig24 – Mark Rothko, Panels One, Two & Three in Harvard University (1963)

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(Anderson, 2011) Fig25 – Mark Rothko, Installation views in Sydney (1995)

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(Archives of American Art, 2014) Fig26 - Mark Rothko, Plan of Installation in Sydney (1995)

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(MoMA , 2011) Fig27 – Mark Rothko, Outlines Plan of Installation in Sydney (1995)

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(MoMA , 2011) Fig28 – Mark Rothko, Sydney Installation vs. Rothko Chapel

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(Friedrich, 2012) Fig29 – Tony Smith, Sketches and Model for a Church to hold Pollock’s work (1951)

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(Salomon, 2013) Fig30 – Tony Smith, Sketch of a Plan for a Church to hold Pollock’s work (1951)

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(Artnet Worldwide Corporation , 2014) Fig31 – Tony Smith ‘Mural’ (1949-52)

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(New York Museum, 2012) Fig32 – Le Corbusier, Sketch of ‘unite d'habitation’

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(Study Blue Inc., 2014) Fig33 – Le Corbusier, Plan of ‘unite d'habitation’ unit

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(Study Blue Inc., 2014) Fig34 – Frank Lloyd Wright, Image of Robbie House

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(Cresswell, 2006) Fig35 – Frank Lloyd Wright, Sketch of Robbie House

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(Cresswell, 2006) Fig36 – Mies van der Rohe, Image of Farnsworth

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(Michael, 2010) Fig37 – Mies van der Rohe, Sketch of Farnsworth

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(Michael, 2010) Fig38 – Philip Johnson, Image of The Glass House

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(PJGlasshouse, 2010) Fig39 – Philip Johnson, Sketch of The Glass House

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(PJGlasshouse, 2010) Fig40 – Richard Neutra, Site Plan for Case Studies 6 & 13

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(Art & Architecture, 2014) Fig41 – Richard Neutra, Image from Case Study 6

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(Art & Architecture, 2014) Fig42 – Richard Neutra, Relationship to Surrounding Plan Developed

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Authors own – analysis research (Authors Own 2014, unpublished) Fig43 – Leather House, Meadowland, Site Plan & Site

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Authors own – analysis research (Authors Own 2014, unpublished) Fig44 – Leather House, Meadowland, Axonometric vs. Wall Configuration

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Authors own – analysis research (Authors Own 2014, unpublished) Fig45 – Leather House, Meadowland, Sketch Development for Perspectives

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Authors own – analysis research (Authors Own 2014, unpublished) Fig46 – Leather House, Meadowland, Sketch Development for Perspectives

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Authors own – analysis research (Authors Own 2014, unpublished) Fig47 – Initial DRU Object, Development Stage One, Four Perspectives

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Authors own – analysis research (Authors Own 2014, unpublished) Fig48 – Case study house 21, Pierre Koenig & William Porush: Julius Shulman

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(Archdaily, 2014) 32

Fig49 – Photo shoot from W Magazine

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(Arsila, 2014)

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Fig9 34

Fig10 & Fig11(Mondrian has placed his easel against the wall so that the painting becomes an integral part of the wall pattern.)

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Fig12 & Fig13 36

Fig14 (function to the space, art and architecture combined) 37

Fig15 & Fig16 (highlighting the focus and element of projecting plains) 38

Fig17 & Fig18 39

Fig19 & Fig20 40

Fig21 & Fig22 (experimentation allowing for a new approach within architecture and making space) 41

Fig23 (experiential) 42

Fig24 & Fig25 43

Fig26 & Fig27 (merging seamlessly art (function) and architecture (technology)) 44

Fig28 (consideration to user and view) 45

Fig29 & Fig30 (rethinking how to experience the use) 46

Fig31 47

Fig32 & Fig33 48

Fig34 & Fig35 49

Fig36 & Fig37 50

Fig38 & Fig39 51

Fig40 52

Fig41 & Fig42 53

Fig43 54

Fig44 (investigating if walls can be broken down into plains for its purpose and housed objects) 55

Fig45 (trying to portray a connection between place, place making and the environment. Highlighting material used)

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Fig46 (highlighting the layers but the controlling elements/principals within the design) 57

Fig47 58

Fig48 & Fig49 (Highlighting re-instating the past to move on with a new take on it) iconic 59

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Architecture. From MoMA Papers: http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=2&cad=rja&uact=8&ved=0CEQ QFjAB&url=http%3A%2F%2Fwww.moma.org%2Fdocs%2Fcalendar%2FCostello2.25.11MoMApaper.pdf&ei =BllIU_qUEOn-ygOv24GICA&usg=AFQjCNFDswq8j1ybJXED0t-Z9KspgYbq6w&bvm=bv.64542518,d MoMA. (1928). The International style. From Henry Russel Hitchcock and Philip Johnson: http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&sqi=2&ved=0CCwQFjAA&url= http%3A%2F%2Fenglish.duke.edu%2Fuploads%2Fmedia_items%2Fthe-internationalstyle.original.pdf&ei=8w9JU_j0GYW_ygO8lYCoCQ&usg=AFQjCNFsh0Qiwss9AmqQ6u1N4suXAEFyTw&b vm=bv.6 New York Museum. (2012). The Evolution of Abstraction in Tony Smith’s Artwork. From New York Museum. 100 years. always new: http://newarkmuseum.wordpress.com/2012/09/28/the-evolution-ofabstraction-in-tony-smiths-artwork/ Paris Photo. (2013). JACKSON POLLOCK'S MURAL. From Paris Photo: http://www.parisphoto.com/agenda/jackson-pollocks-mural Perth & Kinross Council. (2013). Archive Online Catalogue. Retrieved 2013 from http://www.pkc.gov.uk/article/2155/Archive-online-catalogue PJGlasshouse. (2010). Illuminating the Glass House (Part I). Retrieved from The Glass House Blog: http://philipjohnsonglasshouse.wordpress.com/2010/08/01/illuminating-the-glass-house-part-i/ Prospect. (2005). Issue 117 . From Prospect: http://www.prospectmagazine.co.uk/issue/117/#.U0pyu1doCSp Prospect. (2005). Issue- Propect Magazine . From Prospect: http://www.prospectmagazine.co.uk/gsearch/?q=issue%20from%202005#.U0pyrVdoCSp Readers Digest. (2013). Architectural Disgest. From The Glass House: http://www.architecturaldigest.com/architecture/2012-09/architect-philip-johnson-glass-housemodernism-article RIAS Quartery. (2010). Spring Edition: Issue 1. From RIAS: http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=9&cad=rja&uact=8&ved=0CGE QFjAI&url=http%3A%2F%2Fwww.rias.org.uk%2Ffiles%2F2011%2F243%2F6291D982-3322-427A-17A44673092DD03D.pdf&ei=IvFHU_GFA4ekyAPv-ICICw&usg=AFQjCNEPienf5M6t3jHDM-FKkp8Tg5nY9Q RIAS Website. (2014). RISA. From Morris and Steedman Associates: http://www.rias.org.uk/directory/practices/morris-and-steedman-associates/ 64

RIBA. (2014). The English Minial Home. From The RIBA President's Medals Student Awards: http://www.presidentsmedals.com/Entry-33991 Roedel, J. (2013). On the Fritz. From 225: http://www.businessreport.com/122013/On_the_Fritz RTPI in Scotland. (2010). The New Goverment - Building on Progress. From Scottish Planner: http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=7&cad=rja&uact=8&ved=0CFEQ FjAG&url=http%3A%2F%2Fwww.rtpi.org.uk%2Fmedia%2F9746%2FScottish-Planner-June11_web.pdf&ei=mPNHU_TBH4aDzAP_y4HYBA&usg=AFQjCNHQGmHnu31K0TpcEHunrODIGHJHtA&bvm =bv.645425 Salomon, D. (2013). The Highway Not Taken: Tony Smith and the Suburban Sublime . From The Design Observer Group: http://places.designobserver.com/feature/tony-smith-new-jersey-turnpike/38084/ Savillis. (2014). 65 Ravelston . From Savillis, Edinburgh: http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=8&cad=rja&uact=8&ved=0CF0Q FjAH&url=http%3A%2F%2Fsearch.savills.com%2Fcontent%2Fassets%2Fproperties%2Fgbedsceds120371 %2FEDS120371_EDT12000002.PDF&ei=q6FGU-2VLITFOZDAgMgL&usg=AFQjCNEPsSfu1C7YKfJ SCI-Ac. (1976). SCI-Arc Media Arcive . From Harwell Hamilton Harris Interview: http://sma.sciarc.edu/subclip/harwell-hamilton-harris-interview-clip_7658/ SCI-Arc. (1985). Christian Norberg Schulz. From SCI-Arc Media Archive: http://sma.sciarc.edu/video/christian-norberg-schulz/ SCI-Arc. (1987). William Curtis Le Corbusier Nature and Tradition . From SCI-Arc Media Archive : http://sma.sciarc.edu/subclip/william-curtis-clip_4424/

Seventeen Buildings by Frank Lloyd Wright. (1998). From Wright on the Web: http://www.wrightontheweb.net/flw8.htm Smithsonian.com. (2013). The Triumph of Frank Lloyd Wright. From Smithsonian: http://www.smithsonianmag.com/ist/?next=/history/the-triumph-of-frank-lloyd-wright-132535844/ Stanford Anderson, G. F. (2012). Aalto and America. New Haven and London: Yale Univeristy Press.

Steedman, M. a. (2013). Modernist Houses. Retrieved 2013 from Morris and Steedman Associates: http://www.msastudio.co.uk/ Str.1, C.-E. (2003). Marcel Breuer, Marcel Breuer design and arcitecture. Germany: Vitra Design Museum.

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Study Blue Inc. (2014). STUDYBLUE. Retrieved from Study Blue Inc.: http://www.studyblue.com/notes/note/n/arc-311-study-guide-2012-13-yanik/deck/9725669 TASCHEN. (2014). Redefining the Modern House. From A monumental retrospective of the Case Study Houses program: http://www.taschen.com/pages/en/catalogue/architecture/all/44805/facts.case_study_houses.htm TASCHEN. (2014). The seminal architecture journal resurrected in facsimile. From Taschen: http://www.taschen.com/pages/en/catalogue/architecture/all/03888/facts.arts_architecture_1945_54 _the_complete_reprint.htm The Independant . (2014). James Morris. From The Independant Sunday 13 April 2014: http://www.independent.co.uk/news/obituaries/james-morris-413249.html The New York Times. (1989). Eather McCoy Is Dead; Architecture Critic, 85. From The New York Times: http://www.nytimes.com/1989/12/31/obituaries/esther-mccoy-is-dead-architecture-critic85.html

The Stahl House. (2014). From The Dapper Dude: http://thedapperdude.com/2010/07/23/the-stahlhouse/ The Univeristy of Dundee. (2014). Fieldwork: DRU Reseach Unit F. Purdie. 703/01 .

Times, H. M. (2005). Sitegeist . From The Style Magazine: http://www.nytimes.com/2005/10/09/style/tmagazine/sitegeist.html?_r=1& UTDR. (2010/08). Costello, Eileen Elizabeth: Byond the Easel. From Digital Repositories: http://repositories.lib.utexas.edu/handle/2152/19840 Vimeo. (2011). architecture and utopia. From Veimeo: http://vimeo.com/18927201 Visual Arts Encyclopedia. (2014). Mural. From Wikipaintings: http://www.wikipaintings.org/en/jacksonpollock/mural-1943-1

Webstories. (2013). From KCET: http://www.kcet.org/socal/webstories/ Wikipedia. (2014). American Modernisum. From Wikipedia: http://en.wikipedia.org/wiki/American_modernism Wikipedia. (2014). Case Study Houses. From Wikipedia: http://en.wikipedia.org/wiki/Case_Study_Houses Wikipedia -The Free Encyclopedia. (2014). Prospect 100 best modern Scottish buildings. From Wikipedia: http://en.wikipedia.org/wiki/Prospect_100_best_modern_Scottish_buildings 66

Wikipedia. (2014). Wikipedia. From Art & Architecture: http://en.wikipedia.org/wiki/Arts_%26_Architecture Wohnhaus. (2012). Buro Jens Casper. From Residence, Berlin 2003-2008: http://www.jenscasper.com/bunker.html Youtube. (2011). Case Study Houses. 1945/1966 . From Youtube: http://www.youtube.com/watch?v=deADjG8Kh8o Youtube. (2012). Case Study Houses: Blueprint for Modern Homes . From Youtube: http://www.youtube.com/watch?v=Vbx3Dltt27A Youtube. (2012). Eldredge Prize: Kristina Wilson "MoMA and American Modernism . From Youtube: http://www.youtube.com/watch?v=emRV5rVr9UI Youtube. (2009). Richard Neutra, an Interior View. From Youtube: http://www.youtube.com/watch?v=nKT_s2Algx0 Youtube. (2013). Skinny house in LA: affordable, minimal, modern home/office . From Youtube: http://www.youtube.com/watch?v=dAOuUkQTqWE Zimmerman, C. (2006). Mies van der Rohe. Germany : Taschen.

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APPENDIX A: Interview with R. Steedman RIAS QUARTERLY SPRING 2010: Interview with Robert Steedman OBE FRAIS

(Page 20)

It is a mark of Morris & Steedman’s standing that Historic Scotland selected this practice as the subject of the first in their new series of ‘Architects’ pamphlets. Their work, particularly an unrivalled catalogue of private house commissions, is consistently modern, conditioned by a shared Edinburgh training, responding to the changeable Scottish climate and influenced by the European and American innovators of the mid-twentieth century. James Morris died in 2006 aged 75. Robert (Bob) Steedman, now 81, still contributes to the work of Morris Steedman Associates as a consultant and to furthering the study and understanding of architecture through his involvement in the Royal Scottish Academy. Awarded the Royal Incorporation’s Lifetime Achievement Award in 2009, Bob Steedman was among the first of the RIAS’ senior members to be interviewed by RIAS Secretary Neil Baxter on film in a new series, generously funded by Historic Scotland. This article is drawn from that interview.

“Morris and Steedman was a firm always aware of the changing role of the architect throughout their working career. “Amazingly transformation”. He comments that “the process of creating architecture when I started was as it had been for hundreds of years”. His view is that good buildings should “serve the client and enhance the environment of Scotland” his work on the Royal Fine Art Commission during the 1990’s is summed up as a shared endeavour to “make sure Scotland wasn’t spoiled”. But the influence they were both exposed to internally have a profound ability to make they’re architecture readable internationally, but still hold characters of nationality. For example the trip to Japan “Traditional Japanese architecture with its flexibility, flowing space, wonderfully sculptural roofs, sliding panels and structural grid had many lesson for the proto-modernist” For the two young Scots for which “Corbusier was God” Alfred Roth’s (1903-1998) background in Corbusier Paris atelier and his work with Marcel Breuer were a connection with the two key strands of European modernism.”

(RIAS Quartery, 2010)

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APPENDIX B: Perspective RIAS QUARTERLY SPRING 2010: Perspective – The architecture of the Profession

(Page 13)

This article is based upon a presentation made by Neil Baxter at Historic Scotland’s Building for the Future conference, held in Dundee in November 2009.

Housing was among the key political priorities of the post-war years. The contribution of Kantel and the Burrell Company are hugely significant in both their patronage of young architects and the upping the ante on the architectural quality of both conservation and new-build urban housing over the last three decades. In 1945, the Scottish population was 5.15 million, an increase of 350,000 from 1931 and the housing shortage was dire. By the end of 1946, around 30,000 prefabricated homes had been erected in Scotland. Some indication of the split between public and private provisions can be seen from the fact that in 1954 nearly 49,000 new homes were built by public authorities in Scotland with only 2,600 supplied by the private sector.

From then the graph of public provision heads steadily downwards while private provision climbs rapidly for the next five decades. In the RIAS Quarterly in 1952, Archibald Jury, says “housing for what are referred to as special groups. He includes homes for old people, single persons’ hostels, housing for disabled people, housing for doctors and nurses within the National Health Service, provision for policemen and firemen’s houses and intriguingly, comments upon the particular provision within the public sector for higher income groups requiring three to four bed roomed homes (garages and 1.500ft2.)

(Morris+Steedman are building on the social + policies needs of Scotland + UK)

Equally low cost housing and low cost planning by Robert Gardner Medwin, he talks about the thwarting of the aspirations to build prefabricated homes by material shortages and laments to continuing reliance on traditional, component built provision such as brick and mortar.

(Their principals were of use in a new restructuring of government needs and wants within sectors, creating a demand.)

Medwin notes that there are two ways to reduce costs in housing, the first is to reduce space standards; the second is to rely on the creativity of architects, a process demanding of them “imagination, ingenuity, a scientific attitude and much hard thinking” Medwin’s illustrations include the living room, space saving, three bed roomed home, furnished by the council of industrial design.

(Exposed to a niche in building and designing, Morris+Steedman was at the forefront.)

Peter Smithson: “Modern architecture has grown up on a didactic tradition, almost every building

by Mies and Le Corbusier is an example and a method as well as a fact and this sort of architecture is still the best teacher.”

(Key influences within society already in place with sealed they’re unique ability to design with modernism traits.)

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Perhaps the most positive last words are back in Archie Doak’s 1968 essay. His plea for culturally aware bespoke solution of the inspired Scottish architects is eloquent – and still absolutely pertinent: “ to some people a fir cone is a fir cone, but to some it may still be a doorkin, ayowie, a peerie or a cockabendie. Likewise children may be bairns or weans.”

And: “Society will no longer need us if we cease to be highly qualified professionals of architecture. A professional is someone who delivers the goods – the real thing: that means more architecture, not less.”

(RIAS Quartery, 2010)

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APPENDIX C: Small Publication – Fieldwork, 73/01 73/01 DRU: FEILD RESEARCH UNIT, F.PURDIE – COLLECTIVE PUBLICATION

(Page 24)

Editorial: Jemma Miller

-

Modernism

Rory Brogan

-

National

Avril Bennie

-

International

Morgan Merrett

-

Exterior

Sinead Todd

-

Interior

Padraic Larkin

-

Uninhabited Space/Inhabited Space

The plan for the DRU unit “Fieldwork” is an exploration through the study of a real building with real people. The study of the house is to investigate real architecture, examining theories and philosophies of existent architects through a specific building.

The unit carried out a series of investigations into The Leather House in Perth designed by post war architects Morris and Steedman.

Morris and Steedman are well known for their domestic architecture, designing and building 15 one off houses in less than two decades.

Each member of the group took an aspect of the house that interested them to research and investigate. The outcome is an in depth study presented through objects within an object.

(The Univeristy of Dundee, 2014)

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APPENDIX D: Modern Architecture International Exhibition MUSEUM OF MODERN ART/MoMA: Philip Johnson and Henry Russell Hitchcock

(Page 7)

“Modern Architecture: International Exhibition” is the title of an exhibition that took place in 1932 at the Museum of Modern Art in New York City. Curated by Philip Johnson and Henry-Russell Hitchcock, the exhibition introduced an emerging architectural style characterized by simplified geometry and a lack of ornamentation; known as the “International Style,” it was described by Johnson as “probably the first fundamentally original and widely distributed style since the Gothic.” The exhibition, along with an accompanying catalogue, laid the principles for the canon of Modern architecture.

In 1930 Alfred Barr, the then director of the MoMA, initiated the museum’s first architectural exhibition, claiming that “The Museum of Modern Art has closely followed this international activity in architecture.

Although the Museum has until now exhibited only works of painting and sculpture, it has felt the need since its inception for a comprehensive exhibition of modern architecture.”[1] To curate the exhibition, Barr asked the historian Henry-Russell Hitchcock and architect Philip Johnson, who both spent the following two years researching and collecting materials in Europe. The exhibition opened on February 10th 1932 in the MoMA’s Heckscher building, and was attended by 33 thousand people during its sixweek duration.

Through photographs, drawings and specially crafted models, the carefully curated exhibition illustrated the characteristics of the new style which had emerged in Europe since 1922. The main section of the exhibition, titled “Modern Architects,” presented projects by the “four leaders of modern architecture”: Le Corbusier, Walter Gropius, Mies van der Rohe and J.J.P. Oud. The exhibition also included two other sections: “Housing” presented the need for a new domestic environment and “The Extent of Modern Architecture” displayed works by thirty seven architects from fifteen different countries.

The exhibition presented three major principles that laid the foundation of the new “style”: the emphasis of volume over mass, the regularity and standardisation of elements, and the avoidance of ornament.

These principles were applied through architectural elements such as ribbon windows, flat roofs, screen walls, non-structural partitions, as well as a simple use of colour and geometry. By emphasizing and categorizing these repeated aspects of the designs, the exhibition established a new “style” in architecture.

Like many curators who aspire to create a coherent exhibition, Johnson and Hitchcock excluded major aspects of current architecture that did not fall under their strict aesthetic criteria. For example, for the sake of uniformity and categorization, Johnson and Hitchcock ignored significant works of 1920‘s and 72

1930‘s Expressionist and Organic Architecture, whose biomorphic forms had a fundamental influence on modern architecture.

The exhibition was accompanied by an extensive catalogue, which was to serve as an educational tool.

Originally published under the title “The International Style: Architecture Since 1922,” the book played a crucial role in giving a permanent validity to the exhibition, complementing its content rather than documenting it. The book catalogued the morphological and compositional elements of the new style, thus serving not only as an important historical document, but also as a guide book for Modern architecture.

Although the event awarded the participating architects with worldwide recognition, it also unified them for posterity, an idea which was not favoured by all. Insulted by the prospect of being placed alongside “inferior” peers, Frank Lloyd Wright withdrew from the exhibition only one month prior to its opening. He explains his decision in a Telegram to Philip Johnson in January 1932: “My way has been too long and too lonely to make a belated bow to my people as a modern architect in company with a self advertising amateur [Raymond Hood] and a high powered salesman [Richard Neutra]. no bitterness and sorry but kindly and finally drop me out of your promotion.”[2] The “Modern Architecture: International exhibition” represents the crystallization of a definitive architectural movement. Much like 1988’s “Deconstructivist architecture” exhibition at the MoMA, also curated by Philip Johnson, the exhibition marked the first time the “International Style” became institutionalized and officially recognized.

1.

The official MoMA announcement from 1931

2. The Show To End All Shows – Frank Lloyd Wright and the Museum of Modern Art, 1940″, John Elderfiel

(Archdaily , 2013)

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APPENDIX E: Questionnaires

Page 24

Questionnaire 1 – unknown

Avril Bennie SPR/SCJ CODE : 080002485/1 Module HT40006 : 2013/14 Year 4: Semester 1&2 DRU Research (Home Address)

(Term Time Address)

Greenhill Farm

107 Ground Left

West Plean

Cleppington Road

By Denny

Dundee

Stirlingshire

Angus

FK6 6RQ

DD3 7NU

Email: aebennie@dundee.ac.uk

Mobile: 07882624481

Please return within one week starting from the Friday 11 th April 2014.

(Deadline: Friday 18th April 2014)

DRU Question Space is a fundamental tool for architects. Space may be considered at different scales and points within history. In this study, space is examined in four categories: 1.

Scale comparison (modest requirements to desirable needs in housing)

2. Growth comparison (trends over time, societies requirements in housing) 3. Theme sequence (era vs. concepts, which will/would have benefited housing for the future) 4. Analysis This method demonstrates the connection between a place and its relevance in time to society and the need for design to relate to the person and environment which surrounded them.

The examination of different uses of housing at same scale helps identify the true origins of Meadowland and the connections and developments the design has had within society as well as both its surrounding and immediate context.

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Three references to scale in particular are used: 2. History – 1:100/1.500 (Meadowland vs Era) 3. Detailed Study & Architecture – 1:100 (Case Study) 4. Individual Plot - 1.100/1.50 (Plot) Each scale study is shown at the same scale so a difference or similarity can be seen in plan. Thus a clear transition can be seen between the themes in relation to the site/era and form of Meadowland.

Meadowland is a house located in Perthshire, Scotland. It is one of the earliest founding cities recorded in urban developments in the Scotland. By developing an interest to find out why such a building had an effect on Scottish culture of living and building, an evaluation throughout this study can be formed.

By having access to a live project the ability to research in depth the architectural design of Meadowland. By looking into a key history of the type of housing, (case study, morphology, topography etc) and the architects of the time who influenced the house’s founding design development.

Therefore an understanding of why it is such an area of importance and why it has become a listed building allows for the knowledge of what factors need to be kept, so the essence of the design keeps true to its origin.

Discuss Meadowland and how the value of themes and key rules of practice affected its development with reference to then and now in today’s society.

Questionnaire

Questions Q1. What do you think makes Morris & Steedman work?

Passed published projects (listed if so)

4

Current published projects (list if so)

5

Theories (explain key theories if so)

3

Rules for designing (list if so)

1

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Relevance to era (list if so)

2

Q2. Do you feel Morris and Steedman’s work was influenced by other previous designers/architects?

If so please list...

Yes, in their younger year with their pervious teacher and exposure to architecture.

Q3. How much of an impact do you feel Modernism and the work of Marcel Breuer, Phillip Johnson, and Miles van der Rohe affected the work of the practice when first starting up?

Obviously drove them on to be group braking within architecture due to such influences.

Q4. How much of an impact do you feel Modernism and the work of Marcel Breuer, Phillip Johnson and Miles van der Rohe affected the work of the practice within the current working environment?

I wouldn’t say there a concise thought to person style however within regard to site and surrounding the stylist quality is very important.

Q5. How much of an effect did American and European trends influence the design of Morris and Steedman’s work?

Please specify ...

A profound influence due to the new thinking that both continents brought to architecture and still does.

Q6. Within a particular project (Meadowland, Leather House) how much of the design do you feel is influenced by Scottish or International culture?

A real use of material, environment, place, light and weather defined it.

I feel the international is defined by the European influence via importing of furnishings etc. but also the American with the sense of structuring out a plan.

Q7. Within the work at Meadowland, Leather House, how much of the design was altered from original concept due to client input or place?

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N/A due to not being a part of project.

Q8. “…areas of special architectural or historic interest the character or appearance of which it is

desirable to preserve or enhance.” - Section 61(1) (a) of The Planning (Listed Buildings and Conservation Areas) (Scotland) Act 1997 How do you feel about the council listing Morris and Steedman’s work? Do you feel this is necessary?

Please explain...

Yes, it is necessary to show that the history is evolving and the evolutionary process is still in motion.

Q9. Do you feel Morris & Steedman’s history is a main factor in its style and attraction for clients?

Please specify...

Yes very, mostly due to the report we have built up.

Q10. How do you see the past work of Morris and Steedman progressing into the future, will it affect the environment like it has in the past?

Please give reasons for you conclusion...

I would hope it will change the environment like it has in the past. My reasons for thinking this are the next generation of architects would hopefully refer to history and use the positive to move forward with new design. As the clients will always ask for more and more as time goes on.

Any Further Comments

-

Thank you for sharing your views with me for my research.

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THANK YOU

Thank you to Mr and Mrs Leather for their interest in the project and for allowing the unit to study and visit their home. Also to Morris & Steedman Associates, Perth Archive Department and The University of Dundee.

DRU: Fieldwork 73/01: University of Dundee April‘14 Avril Bennie: International

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