Space, Hope and Brutalism: English Architecture 1945–1975
By Elain Harwood
A magnum opus of mid-century modernism, Elain Harwood’s Space, Hope and Brutalism was 18 years in the making and weighs in at nearly quarter of a million words. Harwood’s history is both passionate and informed, bringing to life a fertile but neglected period of architectural innovation, good intentions, bad choices and uncertain legacy. If you’re reading this you probably don’t need to be told about the treasure trove of design innovation scattered around the country. Yet Harwood’s gift is in uniting the various strands of the built environment, from the Festival of Britain through to the new universities, manufacturing and industry, as well as the way the great cultural shifts in worship, housing, and entertainment changed the shape of modern buildings. A definitive work.
Published by Yale University Press, £50Writer: Jonathan Bell. Photography: Charlotte Crowston
From the book: the curvaceous form of the Liverpool Sugar Silo, by Tate and Lyle’s engineering department, 1955–57. Courtesy James Davies, Historic England
Pictured left: Liverpool Metropolitan Cathedral, designed in 1960 by Fredrick Gibberd, built in 1962–67. Right: the Royal College of Physicians in Regents Park, designed in 1958–60 by Denys Lasdun & Partners, built in 1960–64. Courtesy James Davies, Historic England
Apollo Pavilion, Peterlee, by Victor Pasmore, 1963-69. Courtesy James Davies, Historic England
Pictured left: Chapel, University of Lancaster, designed by Cassidy & Ashton, 1968-69. Right: Engineering Building, University of Leicester, designed between 1959–61 by Stirling & Gowan, built 1961–63. Courtesy James Davies, Historic England
Anthony Gormley on Sculpture
By Anthony Gormley
A collection of personal insights – culled from lectures and lessons – into the art of sculpture by one of the foremost practitioners of modern figurative art. Gormley’s single-minded pursuit of the myriad ways in which the human form can alter and be altered by its environment is bolstered by the artist’s thoughts on the abstracted figure through history. Insights include the inspiration Gormley draws from Brâncuși, Epstein and Richard Serra, as well as the importance of meditation on his own artistic practice.
Published by Thames & Hudson, £19.95Writer: Jonathan Bell. Photography: Charlotte Crowston
From the book: Land, Sea and Air II, 1982. This three piece sculpture is an attempt to connect with the elemental world. Pictured here is the first in the series; the following two see the body standing with its arms by its side (Sea) and the the body kneeling on the wet sand with its hands on it thighs, looking up to the skies with nostrils open (Air). All three are made from lead. Courtesy the artist
Pictured left: ’Still standing’ (installation view at The State Hermitage Museum, St Petersburg, Russia, September 2011 – January 2012). Right: Plaster-making for Critical Mass II, 1995. Courtesy the artist
Breathing Room III, 2010 (installation view at White Cube). This piece is the most recent work to prompt collective and individual proprioception: an identical volume of space is contained in 15 space frames, each stretched to a different shape. Courtesy the artist
European Field, 1993. Made from 40,000 touched and fired pieces of mud, the artwork is pictured here on view at Kunsthalle zu Kiel in Germany, 1997. Courtesy the artist
1972, Noritaka Minami
By Julian Rose and Ken Yoshida
The Nakagin Capsule Tower is still one of the most famous of all contemporary high-rises. Experimental from the outset, it stands in stark and dilapidated testament to the failure of a dream whose time never seemed to arrive. Photographer Noritaka Minami takes us on an intimate tour of Kisho Kurokawa’s Metabolist masterpiece, which survives into the modern era with barely a quarter of its 140 ‘capsule apartments’ still in everyday use. United by their big, round windows, these tiny apartments are laid bare by Minami’s lens. Ranging between meticulously maintained and strikingly original – with Kurokawa’s built-in technology suite intact – to abandoned and derelict, these pages are a chronicle of a future lost.
Published by Kehrer Verlag, €34.90
Writer: Jonathan Bell. Photography: Charlotte Crowston
From the book: each of the capsules are flexibly designed to make the most of the limited allocated space. Some act as offices, some are overnight stays and some are lived-in full time. Pictured: B1004 I, 2011. Courtesy the artist
The tower was constructed in 1972 and exists now in a somewhat decayed state. Pictured: Facade I, 2011
Minami spent hours speaking to the building’s residents – exploring and documenting the idiosyncrasies of the capsules and corridors, and producing what he describes as a series of ’portraits of the space’. Pictured: B1004 II, 2011. Courtesy the artist
B702 I, 2012 shows a messy lived-in space which appears to act both as wardrobe and office area. Courtesy the artist
Please send this book to my mother
By Sarah Entwistle
Artist Sarah Entwistle’s grandfather, Clive Entwistle, was a great architectural talent. Praised by Le Corbusier, he developed grand schemes for sites as far-flung as London’s Crystal Palace and New York’s Madison Square Gardens, yet never received the acclaim or attention of his peers. Please send this book to my mother is a monograph-cum-art book, derived from the archives, notes, models and projects the architect left behind after his death. Entwistle has sifted through his papers and created a compelling narrative out of his aesthetic and often highly sexual visions.
Published by Sternberg Press, €22Writer: Jonathan Bell. Photography: Charlotte Crowston
From the book: the tome’s narrative passages and Entwhistle’s musings are often positioned on the left-hand side of the page, while a timeline description of where these derive from are on the right. Pictured left: prototypes of chairs and coffee tables alongside a March 1964 image of a female called ’AF’. Right: an extract from a secondary school workbook with a photograph of a woman, ’FS’, and a reflective nude image produced by CE’s company Tekno Lux Corporation. Courtesy the artist and Sternberg Press
A 1964 hand-drawn elevation of a proposed cable-suspended tower in Montreal, for New York-based client City Investing Company. Courtesy the artist and Sternberg Press
Also included across the book’s pages are a variety of war musings, some of which are found loose among papers (left) and others under the title ’World War II: Motivation Preparation’. Alongside are contact sheets of AF and photomontages of two different proposals. Courtesy the artist and Sternberg Press
Hartwood: bright, wild flavors from the edge of the Yucatán
By Eric Werner and Mya HenryHartwood is a classic example of a contemporary cookbook, whisked together with all the right ingredients; a famous restaurant, a husband and wife team, strong local flavours, garnished with photography designed to send you straight to the market to assemble the particulars. Hartwood is located in Tulum, off the beaten track on Mexico’s Caribbean coast. The food is celebrated, thanks in part to the limitations imposed by the hard-to-reach location. Low-tech cooking methods and strictly local ingredients, from fish to fruit, result in a menu that leaps from the page.
Published by Artisan, $40Writer: Jonathan Bell. Photography: Charlotte Crowston
From the book: the aesthetic of the restaurant is key to the experience of interacting with the jungle enviroment. The location is open-air, with food served under the stars. This connection with the outdoors is further intensified as the restaurant runs on solar energy, with a gas generator used to replenish batteries for the freezer and sound system. Photography: Gentl & Hyers. Courtesy Eric Werner and Mya Henry
The ’Ceviche de Robalo’ is a dish feted in part because the fish is so difficult to catch. The recipe derives citrus flavours from orange, grapefruit and lime juice, with coconut and cucumber water settlers. Photography Gentl & Hyers. Courtesy Eric Werner and Mya Henry
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