Collect bonuses and buy new texts with them. Found inside – Page 89FESTIVAL OF BRITAIN 80 Records, 1949- 1951 ca. 150 files REFERENCE AAD/1979/5 CONTEXT The Festival of Britain was held in 1951 as a celebration of peace and demonstrated British achievement in the arts, industrial design and sciences. Click to share on Facebook (Opens in new window), Click to share on Twitter (Opens in new window), Click to share on LinkedIn (Opens in new window), Click to share on Tumblr (Opens in new window), Click to email this to a friend (Opens in new window), Click to share on Reddit (Opens in new window), The Post War Public Art of Peter Laszlo Peri. [31] Visitors then saw the buildings of the Lansbury Estate. The Science Museum in London holds a collection of the Festival's fabrics donated by Dr Megaw; it also includes the official souvenir book by Mark Hartland Thomas. Found inside – Page 472The Hall was furnished with designs by Robin Chigwell armchair By Robin Day for the Festival of Britain, this chair is made of plyWOod and wood veneer. 1950. H26 in (66 cm): W'35% in (89.5 cm). Day, while the South Bank's ... and one of the leading architects and designers for the Festival… 1951 national exhibition in the United Kingdom, Other features of the South Bank Exhibition, F.M. When the British government announced plans for a national celebration in 1951 called the Festival of Britain, the Council of Industrial Design was charged with ensuring high design standards on the major festival sites, and entrusted with large parts of the exhibition planning. John Barker's design includes an image of the exhibition on the South Bank (the main Festival site), juxtaposed with a reference to the Crystal Palace, linking the Festival to the Great Exhibition of 1851. Effeminate'?" [25], The Festival architects tried to show by the design and layout of the South Bank Festival what could be achieved by applying modern town planning ideas. By NDA Interior Design Tutor Vicky Arbuthnot. [8] Achievements in architecture were presented in a new neighbourhood, the Lansbury Estate, planned, built and occupied in the Poplar district of London. The Festival Ship Campania, which docked in ten cities, was visited by almost 900,000 people. Whitehead's bright, modern prints exhibited at the Festival secured its popularity as a producer of bold interior designs. The Festival is featured in the early portion of the film Prick up your Ears. In addition, two Councils were created, one for Architecture and the other for Science and Technology, as there were no comparable They thought along the same lines socially and aesthetically, as middle-class intellectuals with progressive sympathies. An unusual cigar-shaped aluminium-clad steel tower supported by cables, the Skylon was the "Vertical Feature" that was an abiding symbol of the Festival of Britain. In 1948, the Architecture Council decided that the Poplar site would make a good exhibition partly because it was near to the other Festival exhibitions. Made of perforated steel sheet and steel rod, the chair was used as terrace seating alongside Ernest Race's contributions. Its advocacy of Good Design had grown partly out of the standards of utility furniture created during the war (Gordon Russell, the Director of the CoID, had been Chairman of the Utility Furniture Design Panel) and partly out of the CoID's Britain Can Make It exhibition of 1946. The Festival’s cultural heart was a purpose-built spectacular showcase on London’s South Bank, along with over 2,000 other locations round the country. Race made no effort to hide the frame or materials: the seat and back are formed of springs covered in PVC sleeves that could be supplied in the Festival colours. Here are 5 of the leading designers who worked on the festival. With wood rationed, however, furniture designs needed to find ways to incorporate alternative materials, like aluminium or steel. The festival was designed to celebrate the best of British art, design and industry and raise the nation’s spirits after the austerity of the war years. The Festival Pleasure Gardens were created to present a lighter side of the Festival of Britain. From 1941- 47, Moro taught at the Regent Street Polytechnic. It is estimated that around half of the population were involved in celebrations across Britain, with millions visiting the Southbank alone. [8] Responsibility for organisation devolved upon the Lord President of the Council, Herbert Morrison, the deputy leader of the Labour Party, who had been London County Council leader. Get ready for Interior Design Festival of Britain fever. The aim of the festival was to give Brits a feeling of recovery and to advocate more enthusiasm in the design of buildings within the reconstruction of Britain. [9] As the attractions failed to cover their costs, it was decided to keep them open after the rest of the Festival had closed. The second part, "The Structure of Living Things", dealt with plants and animals. Other textile designers chose memorable images or distinctive structures from the Festival as their motifs. [68] The Festival largely ignored foreign tourists, with most of the visitors from the Continent being expatriate Britons.[69]. Beermaker Guinness entertained the crowds with its hugely popular Guinness Festival Clock, a 25-foot-high mechanical clock with a display of characters from Guinness advertising, as well as a zookeeper and the Mad Hatter. [41] It has been described as a "turn to a jauntier and more decorative visual language" that was "part of a wider move towards the appreciation of vernacular arts and the peculiarities of English culture". It was based on condensed sans-serif capitals and had a three-dimensional form making it suitable for use in exhibition display typography. The brief called for a design that reflected “Summer of gaiety and good looks”. Museum no. "It was equated with the 'Contemporary Style', and an editorial on New Brutalism in Architectural Design in 1955 carried the epigraph, 'When I hear the word "Contemporary" I reach for my revolver.'"[27]. Found inside – Page 86A collection of wallpapers, designed as part of the Hemingway's award-winning Vintage Festival, and hosted at London's Southbank Centre. Each design pays tribute to the Festival of Britain's 60th anniversary—the same year Graham & Brown ... This is an intriguing introduction to the graphic work of Abram Games. Hugh Casson Chief Architect for the South Bank Festival Site 3. Found insideThe 1951 Festival of Britain set an optimistic post-war tone for Britain's design potential, showcasing the vibrant work of young designers and architects. Names such as Hugh Casson, James Gardner and a very young Terence Conran emerged ... Amazingly, a sculpture by artist Peter Lazslo Peri has been found. This exceptional book is the first full-length study on the 1951 Festival of Britain. The base was nearly 15 metres (50 feet) from the ground, with the top nearly 90 metres (300 feet) high. The third part, "Stop Press", showed some of the latest topics of research in science and their emergence from the ideas illustrated in the earlier sections of the exhibition. In 1953 the Festival of Britain Office was abolished and its records were taken over by the Ministry of Works.[9]. Found inside – Page 108FESTIVAL OF BRITAIN, 1951 Further reading: Anscombe, Isabelle, A Woman's Touch: Women in Designfrom 1860 to the Present Day. London: Virago, 1984. ... Gronberg, Tag and Attfield, Judy (eds), Women Working in Design: A Resource Book. A wet weather pavilion with a stage facing two ways so that performances could take place in the open air. Exhibitions of the works of Hogarth and Henry Moore, Tate Gallery; Open-air International Exhibition of Sculpture, Battersea Park; "Modern British Painting", New Burlington Gallery; "An Exhibition of Exhibitions", Royal Society of the Arts. The Festival became a "beacon for change" that proved immensely popular with thousands of elite visitors and millions of popular ones. A wealth of images- from photographs of the building projects, to fliers designed to advertise the Festival of Britain One of Ernest Race’s earliest designs for his eponymous furniture company used aluminium, which was widely available during the war. Robert Matthew Lead architect and designer of the Festival Hall 4. The vibrant fabric embodied the spirit of the Festival and went on to become a commercially successful product at Heal's. "[8] The exhibits were based on the stock list of the Council of Industrial Design (CoID) and were chosen for appearance, finish, workmanship, technical efficiency, fitness for purpose and economy of production. A reminder of war, the atomic symbol paid tribute to the immense role that science and technology played in the Allied victory. This book accompanies a UK touring exhibition spanning more than three decades of their work. Another graduate of the RCA, Boydell served in the navy during the First World … [34][35] The idea of using the molecular patterns revealed in x-ray crystallography in surface patterns was first suggested by Dr Helen Megaw, a leading Cambridge University crystallographer. [12], Associated with the Festival of Britain Office were the Arts Council of Great Britain, the Council of Industrial Design, the British Film Institute and the National Book League. Festival of Britain 1951: Design From Atoms to Patterns tells the story of the Festival Pattern Group, a unique collaboration between scientists and manufacturers. Powerful postersAbram Games created many of the striking posters used throughout the Festival. Barker produced the print for David Whitehead Ltd, a Lancashire textile company which became a significant commercial force in British soft furnishings during the post-war period. [8] In selecting and promoting designs in this way, the Festival was an influential advocate of the concept of "Good Design", a rational approach to product design in accordance with the principles of the Modern Movement. This emblem featured on posters, leaflets, souvenirs and catalogues, helping to create what would become known as 'Festival Style'. Several images of the South Bank Exhibition can be found on the internet, including many released by The National Archives on the 60th anniversary of the festival.[77]. The Festival's centrepiece was in London on the South Bank of the Thames. Conceived at a moment that seemed anything but propitious for holding a great exhibition, the South Bank exhibition triumphantly demonstrated the vitality of contemporary British architecture by introducing a new standard of planning. Festival of Britain South Bank exhibition: the Lion and Unicorn Pavilion {left) y the Festival Hall and (; right foreground) sculpture by Jacob Epstein my friend Sir Basil Spence, past President of the R.I.B.A. An amphitheatre seating 1,250 people, featuring the music hall star, Stratford-upon-Avon (Shakespeare Festival), York Festival (including a revival of the, "An Exhibition of Sixty Large Paintings commissioned for the Festival of Britain" ("60 Paintings for '51"), Suffolk Galleries, organised by the Arts Council, prize awarded to. The Town Planning Pavilion demonstrated the principles of town planning and the urgent need for new towns, including a mock up of an imaginary town called "Avoncaster". William Feaver describes the Festival Style as "Braced legs, indoor plants, lily-of-the valley sprays of lightbulbs, aluminium lattices, Costswold-type walling with picture windows, flying staircases, blond wood, the thorn, the spike, the molecule. Five years later Race's Antelope chair, produced specifically for the Festival of Britain outdoor terraces, was constructed similarly from die-cast aluminium and steel rods. Most notable is the often imitated Calyx fabric, which drew inspiration from the modern aesthetic that was sweeping the world. Found insideThe first book to provide an historical survey of images of black people in advertising during the colonial period. Barker produced the print for David Whitehead Ltd, a Lancashire textile company which became a significant commercial force in British soft furnishings during the post-war period. Design, science and industry came together in the Festival Pattern Group, which commissioned textiles, wallpaper, domestic objects and Festival exhibits based on x-ray crystallography. ", Peter Newman, and Ian Smith, "Cultural production, place and politics on the South Bank of the Thames. Display Design: James Gardner. Theme: Ian Cox Found inside – Page 210(6, 11) One of the most important outcomes of the 1951 Festival of Britain for industrial design and for British postwar commerce was the decision to establish a Design Centre in central London to house the stock list that had been ... The designs that were sponsored by the Festival Pattern Group chimed in with displays in the Dome of Discovery about the structure of matter and the Festival's emphasis on progress, science and technology. "Powers, A., "Sixty years on from the Festival of Britain", "The Festival of Britain – A Meeting of Science and Art". The Festival of Britain was a national exhibition held throughout the United Kingdom in the summer of 1951. Running from May until September it was intended as a spirit-raising national exhibition celebrating design, science, technology, architecture, industry, and … "Forward a Century", sponsored by the Petroleum Films Bureau. 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