Festival of Britain by Lukestephenkeen

The

Festival of Britain “Maximum Meaning, Minimum Means”

This book explores developments in British design between 1940 and 1952, focusing on the contrasting styles of Utility and the flowering of design, which occurred as a result of the Festival of Britain. To understand the impact of the Festival it is important to understand the post war context, the period of austerity that was the legacy of a long period of warfare. In design terms this was manifested in austere designs, what became known as Utility design. The book is divided into two parts, Utility and Festival of Britain. Each section contains nine chapters ranging from WW11, the visual characteristics of utility design and the development of the National celebratory festival itself. The chapters explore in depth the organisation and aesthetics of both periods and look into the overall influence and effect these have had on modern day society.

The Festival of Britain

Contents Festival Of Britain Introduction

The Great Exhibition

Organisation

Abram Games

Artwork

The Skylon

Dome of Discovery

Closed Down

Modern Inspiration

Conclusion

Introduction This book explores developments in British design between the dates of 1940 and 1952, focusing on the contrasting styles of Utility and the flowering of design, which occurred as a result of the Festival of Britain. Rationing continued for years after the war ended and spirits remained low. Then the Government decided to develop a new initiative, using the opportunity provided by the anniversary of The Great Exhibition (1851) to launch a national celebration to also raise spirits and boost morale after the hardships of the war. The Festival of Britain in 1951 was a national festival, intended to help Britain recover and to signify a fresh new start. The patriotic tone gave people something to look forward to and also helped Britainâ&#x20AC;&#x2122;s economic recovery. The festival was a celebration of art, design and science with a focal point in central London, on the South Bank of the River Thames; however this was a national festival with celebrations taking place in Cardiff, Stratford-upon-Avon, Oxford and Birmingham, Glasgow and many more cities. The boundary between these two eras, Utility and the Festival of Britain marks a point of change in Britainâ&#x20AC;&#x2122;s social, cultural and political development and can be seen as a significant turning point in the acceptance of Modernism.

Right Birds eye view of the Festival of Britain along the Southbank, 1951.

The Great Exhibition The Great Exhibition of 1851 had been one of the outstanding success stories of the nineteenth century. The exhibition was an international festival of manufactured products, intended to be a showcase for developments in science industry the arts and design based on an invitation to all nations to exhibit works showing British skills in the context of international competition. Held in a crystal palace especially constructed for the exhibition in Hyde Park it ran from 1st May to 15th October and was attended by huge numbers including notable figures such as Charles Darwin, members of OrlĂŠanist Royal Family and Charles Dickens. This festival was an unprecedented popular success and hugely influential on design and manufacture with a major positive impact on British industry the economy and exports. It is hardly surprising that the British government after the Second World War sought to achieve something similar through the development of the Festival of Britain.

Left The Crystal Palace part of the Great Exhibiton, in Hyde Park 1851.

Left Painting showing interior of The Great Exhibition of 1851.

organisation In 1945, a committee had been established (under chairmanship of Lord Ramsden) to consider how exhibitions and festivals could be used to stimulate exports and trade. At the time it was decided not to go forward with the idea of an international exhibition because of the cost. Deciding instead to hold a series of exhibits about art and design, architecture, science and technology and industrial design, with a focus on Britain under the title “Festival of Britain 1951” across the four nations of the United Kingdom. The Festival took many years of planning against the background of continuing rationing and austerity. One of the main creators and a driving force behind the planning of the exhibition was Herbert Morrison a Labour M.P and a former leader of the London County Council. In 1947 the Labour Government and Herbert Morrison decided that the Festival should be a celebration of Britain’s victory for all families to enjoy. It would offer a much-needed boost to national confidence and post-war revival. The idea was presented officially to the House of Commons on the 7th December 1947. The proposal received cross-party backing and the Festival was approved a budget of £12 million. Morrison appointed Lord Ismay as chairman of the Festival Council who did an effective job keeping the team working together.

Above An image of the Festival Director, Gerald Barry, 1951.

Above Chief sponser of the festival, Herbert Morrison.

â&#x20AC;&#x153;At a time when the world is racked with uncertainties there is a special virtue in dwelling upon the arts of peace. It is good to turn our minds to those things in our tradition that are permanent and continuous, through which our country has added so much to the store of human happiness and knowledge. The Festival of Britain, 1951, may prove to be not simply and end in itself, but a beginning of many good things.â&#x20AC;? Princess Elizabeth, 1948, at the first meeting of the organising committee for the Festival of Britain.

Left King George Dock, the Festival of Britain, 1951.

Top Left Organisation and layout of the festival.

Eight days after the first official meeting, Fleet Street editor, Gerald Barry, and Ismay held a Festival briefing, telling members of the local government authorities they wanted national celebrations that extended across every part of the country. Their plans and ideas were met as Glasgow and Belfast organised industrial exhibitions in 1946 and over 2,000 regions prepared some form of Festival celebration (Designing Britain, n.d) Some of the organisations that have played particularly decisive parts leading up to the Festival include the Arts Council of Great Britain, which was responsible for planning countless events throughout the country and the Council of Industrial Design who obtained the cooperation of British industries.

Bottom Left Shows a model of the Festival of Britain site during planning in 1947.

The national festival attracted many critics who perceived it as a pointless waste of money and the Conservative Party agreed, they saw it as economically impulsive in a period of basic rationing and restrictions. The government demanded cutbacks on what was already an average budget. The Festival of Britain involved vast expenditure going well over budget, at a time when the country was short of money and living on international loans.

Far Left Festival of Britain information leaflet, 1951.

The Festival was to promote exports and to pay back some of the international loans borrowed during the war. The United States provided Britain with essential war material, food and money. The international loans came from the Lend Lease act of March 1941, the act was essential and most welcome as it enabled Britain to keep fighting until events led America into the conflict also bringing the United States one step closer into the war. The plan ended August 21, 1945 but it took 65 years, until 2006 for the British to repay their loans. For many people the festival was a break from the monotony of their daily life. King George VI expressed the hope during his Guildhall speech on June 8th 1949, that â&#x20AC;&#x153;every family in all parts of the country will share in this great festival.â&#x20AC;? (Memoirs of Lord Ismay, 1952) Despite the initial worries the government had, the Festival appealed to the public with ideas of a more positive future. Promised developments in science and technology as well as better-designed domestic and urban environments, different from the devastation of war time ruins. Above King George VI, opened the festival in 1951.

â&#x20AC;&#x153;The motives which inspire the festival are common to us all - pride in our past and all that it has meant, confidence in the future which holds so many opportunities for us to continue our contribution to the well being of mankind, and thanksgiving that we have begun to surmount our trials.â&#x20AC;? King George VI, speaking before the festival. The Telegraph, April 2014.

Between May and September, eight and a half million visitors headed to the South Bank site alone. It was a vision far removed from the existing limitations of wartime austerity and rationing. The Festival of Britain labeled itself as “one united act of national reassessment, and one corporate reaffirmation of faith in the nation’s future” (From The Bomb To The Beatles, Collins & Brown, pub. 1999) Gerald Barry defined it as “a tonic to the nation” (Collins & Brown, pub. 1999) and insisted the money would be worth the costs and told the nation “Don’t run away with the idea that the Festival of Britain is going to be solemn. Not a bit of it. It will afford us all the opportunity, as occasion allows, for some harmless jollification.” (Picture Post at the start of 1951)

Left Shows the festival structures including the Skylon and Dome of Discovery in 1951.

Abram Games Left ‘The Festival Star’ was designed as a symbol for the Festival of Britain, by Abram Games.

With an inherent enthusiasm toward the development of the festival, an identity had to be formed. Gerald Barry approached twelve designers with a clear brief with the intention to pick the winning symbol. The Council of the Festival of Britain held the responsibility of selecting a design that communicated the brief successfully; “the symbol must be simple in design, recognisable at a glance, and fully effective on a scale of suitable for letter-headings, tickets, posters and lapel badges as well as on an architectural scale”(Festival brief, 1947). As requested, the twelve responded with their outcomes with the chosen designer being Abram Games who produced a logo that was not only vigorous but also refined and most definitely representative of the brief. With Abram Games being one of the most popular and experienced propagandists during WWII it seemed almost appropriate that he designed a logo that would be reflective of the personality and style of the event. Born in London, Abram was raised during the aftermath of the First World War. He then went on to establish himself as the Official War Artist from 1942 onwards during the Second World War, which resulted in the creation of around 100 pieces that have become indefinitely a collection of the most iconic posters to date. Games throughout his career had an innovative disposition, he consistently produced graphically assertive pieces that stood out from the contemporaries and communicated instantly. Upon viewing his designs for the logo when comparing to the others it becomes apparent as to why his was eventually chosen. He implemented his distinctive style whilst still taking into consideration the function and intentions this logo held.

Left Many posters were created to advertise the festival incorperating Abram Games’ logo.

Abram realised the difficulties of achieving impact when creating something on a smaller scale and therefore made sure he accomplished it through simplicity, his personal philosophy was, after all, “maximum meaning, minimum means” (Abram Games, 1935) . This is evident in his design due to how he clearly thought about proportion, balance, rhythm and space. The design is structured and straightforward and the way he combined the helmet with the compass relates to the idea of being simplistic and refers back to the second point on the brief he was provided with. The compass communicates an idea of travel and possibility and that the nation has the ability to go in any direction. Due to metal-based inks still being rationed, Abram made use of the airbrush he was given by his father, which gave depth and texture to the design along with a hint of intricacy. After six years of dealing with what seemed to be an endless financial crisis, it was inevitable that Britain was going to embrace positivity. This is exactly what the final logo resembled. The emphasis on patriotism is shown from the colours of blue, red and white and the use of the Britannia helmet. It is instantly recognisably British. This consequently evolved into somewhat positive propaganda, which would have been a rarity. It was important to remind Britain of their culture, art and the potential to move forward. Abram’s career was focused on propaganda and the idea of communicating a feeling and idea was something he was predominantly good at. His logo and poster designs are authentic and show characteristics of Britain itself.

Previous Page Abram Games was the leading designer for the festival. Left A sculpture made for the festival by Barbara Hepworth, 1951.

Following Page Shows a painted mural for the Festival of Britain, 1951.

Artwork Along with Abram Games there were many other designers that were approached to produce work for the festival. They were mostly contemporary artists, however it provided a wide range of different approaches and styles. Ben Nicholson, John Piper and Feliks Topolski all produced murals at the time. Nicholson, one of the popular artists of that time, created a mural that focused on rhythmic patterns and geometric motifs. It was placed at the entrance for the ‘Riverside Restaurant’. Due to scarce materials they were provided by the commissioners, which are apparent in his outcome, as it isn’t over complicated but instead simplistic and modern. Along with murals, there were statues and paintings. Henry Moore made a statue called ‘The Reclining Figure’ which was made out of bronze. Barbara Hepworth and Jacob Epstein also contributed. Paintings by Josef Herman and Graham Sutherland were also provided. Sixty artists work was included in the Festival of Britain along with twelve different sculptors work. Evidently, a variety of artists involved and it would have been interesting to view what were then the modern day artists had to offer. Stylistically, the festival resembled a refurbished, contemporary Britain. The drab, monochrome period was replaced with colours and the notion of celebration was encouraged. It was time to move away from anything that reminded people of the war and to develop a look that was refreshing and exciting. The logo, poster designs and commissioned artwork helped to create an overall style and feeling to the event; it visually represented positivity and hope.

Top Left A painting by Ben Nicholson for the festival artwork.

Bottom Left A painting by Josef Herman for the festival artwork.

Right Shows Barbara Hepworth at work on her sculptures for the Festival of Britain.

skylon The architecture of the Festival of Britain in 1951 displayed “futuristic symbols of hope and aspiration of the nation” (Neil Kerr of Hereford Business Board, 1951). One of the most memorable and revolutionary designs during this time was the Skylon tower designed by Hidalgo Moya, Phillip Powell and Felix Samuely. The design of the structure was slender in shape that was part Zeppelin, cigar-shaped and looked as though it floated above ground and was compared to the British economy, as “it had no visible means of support.” (Rab Butler, 1951) It stood on three legs and was attached to a net of cables that looked as if it kept it suspended above the floor or anchored down. The structure was made from steel latticework frame and the base was made from clad in aluminum, which stood 50 feet from the ground, and overall it stood 300 feet tall along the River Thames South Bank, between Westminster Bridge and Hungerford Bridge. The Skylon was a memorable symbol to the festival that came to represent victory and faith for the future of Britain, so commemorative stamps, posters and mugs were made to be collected so people could see this symbol of hope all the time.

Right One of the most recgnisable sculptures from the festival, the Skylon.

The name Skylon came from suggestions of Pylon, Sky and Nylon, which were the new materials in 1951 and they wanted the structure to have a modern feel to it because Britain wanted to be looking towards the future and into a new era. In 1952, Winton Churchill ordered the structure to be taken down despite the fact it was very popular with the people, as the £30,00 cost of dismantling and re-erecting would be too much of a cost for post-war Britain. Churchill saw the Festival and its architectural structures to be symbols of a Labour Governments vision of a socialist Britain, whereas he was the leader of the Conservative party.

Dome Of discovery

Previous Page A view of the Dome of discovery and the Skylon from a far.

Right Photograph of visitors during the Festival of Britain.

The Dome of Discovery was another architectural building for the festival that was a temporary exhibition, designed by Ralph Tubbs. It was also at the time one of the largest domes the world had seen, with a diameter of 365 feet and height at 93 feet tall. It was made from concrete and aluminum in a modernist style, they wanted to find a way of making with using the least amount of materials. The Dome of Discovery was an instant hit along with the Skylon and both became the two iconic symbols of the festival, relating to the Trylon and Perisphere from the 1939 New York World Fair. The Dome held many attractions of the festival such as galleries and exhibitions on the theme of discovery such as The Living World, Polar, The Sea, The Earth, The Physical World, The Land, Sky and Outer Space. This was also a huge hit with the public but Churchill wanted it to go when he came into power in late 1951, so it was demolished and was sold as scrap metal.

Left Portraiture photograph of Winston Churchill.

Closed down Despite having over 8 Million people attend the Southbank exhibition, it was the decision of the newly reelected Winston Churchill to shut down the Thames side site. This was his first act as Prime Minister again after being beaten in the 1945 election by a surprise landslide victory for Clement Attleeâ&#x20AC;&#x2122;s Labour Party, which gave Labour its first majority government, and a mandate to implement its postwar reforms. It was Churchchillâ&#x20AC;&#x2122;s contempt for the exhibition that ultimately spelled its doom, in in October 1951 an instruction was given to clear the South Bank site. The Festival became associated with the post-war Labour government and the South Bank Exhibition was rapidly demolished, although originally intended to lift the spirits of a post war Britain and help kickstart economic growth and recovery it may have also become just another reminder of the war that everyone was trying to forget. A desire for post-war reform was widespread amongst the population and this eventually spelled disaster for Churchill and the Labour Party. The majority felt that the man who had led Britain in war was not seen as the man to lead the nation in peace. During what was his third term in office, Churchill introduced many social reforms including the Mines and Quarries Act of 1954, because the former measure consolidated legislation dealing with the employment of young persons and women in mines and quarries, together with safety, health, and welfare. In addition he also introduced the Housing Repairs and Rent Act of 1955, implemented to extend previous housing acts.

“An act to make fresh provision with respect to management and control of mines and quarries for securing the safety, health and well fare of persons employed thereat; to regulate the employment of women and young persons; to require the fencing of abandoned and disused mines and of quarries; and for purposes connected with the matters aforesaid” Churchill introduced the Mines and Quarries Act, 25th November 1954

Left Winston Churchill doing the ‘V for Victory’ sign.

Modern inspiration Inspired by the overwhelming success of the Festival of Britain in 1951 and the grand architecture of the Dome of Discovery that was featured in the South Bank exhibition, The Millennium Dome, now known more commonly as The O2 Arena, was conceived under John Major’s Conservative Government, but on a much smaller scale. However was hijacked by the newly elected Labour Government in 1997 under the reign of Tony Blair. The project was then up scaled with larger plans and more funding for the project as well as significantly escalating expectations of the project. Eventually designed by the architect Richard Rogers and the structural engineer Buro Happold. Prior to its official opening it was claimed the Dome would be,

“A triumph of confidence over cynicism, boldness over blandness, excellence over mediocrity” Blair, the Guardian newspaper, 1st January 2000

Previous Page A photograph of the Millennium Dome during 2000.

It has been said that the Labour Government used this project for their own means as a way to try and rejuvenate the international image of “Great Britain” as well as being lasting memory of what the Labour Government achieved at the turn of the century, in their eyes as another tool to help them remain in office. Although not directly related, in the summer of 2012 London Celebrated hosting the Olympic games, with the centerpiece of the Queen Elizabeth Olympic Park being a 376ft sculpture and observation tower known as the “ArcelorMittal Orbit”. The Orbit was designed by artist Sir Anish Kapoor and Cecil Balmond of engineering Group Arup. It was first conceived after the mayor of London, Borris Johnson and the Minister for the Olympics, Tessa Jowell decided that the Olympic Park needed “Something More”. It was designed to be a lasting artistic memorial of the Olympics and British architecture. It could be said that the orbit was a modern reincarnation of the 1951 Festival of Britain Skylon tower.

Following Page Shows the ArcelorMittal Orbit of 2012.

Conclusion The Festival of Britain was a national festival, intended to help Britain recover and to signify a fresh new start. The patriotic tone gave people something to look forward to and also helped Britainâ&#x20AC;&#x2122;s economic recovery. The Festival capsulated the nation and succeeded in its attempt to help rejuvenate and recover a damaged post war Britain, reigniting the industry and trade of the United Kingdom. There have been many modern architectural structures inspired by the Festival, including The Millennium Dome and an observational structure â&#x20AC;&#x2DC;ArcelorMittal Orbitâ&#x20AC;&#x2122; as part of the Festival of Britain celebration in 2012. It is clear to see that the Festival of Britain has had a lasting impact on British and International design throughout history, since the summer of 1951.

The Festival of Britain 46

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