Students:
- Cindy-Marie Arthur
- Jason Zhou
- Ruwa Mushunje
- Ben Houghton
Abstract Form – John Hoskin
Biography
John Hoskin, a sculptor and teacher, was born in Cheltenham,
Gloucestershire.
Following his father’s death, at the age of 3, his family lived ‘at the edge of
poverty’.
At age 14, John trained as an architectural draughtsman until the second World
War Army service.
Following his return from Germany after the second world war, Hoskin
realised that he wanted to pursue a career as an artist.
During the 1950s, Hoskin developed his sculpting and painting skills. By 1953,
he was seriously engaged in sculpting, showcasing his creations at Lords Gallery
from 1954.
Following his assistance of sculptor Lynn Chadwick, Hoskin was offered an
opportunity to lecture at Bath Academy of Art. He lectured there from 1957 to
1968, where he was appointed the role of the principal lecturer in
sculpture.
Following his role as ‘sculptor-in-residence’ at Lancaster University (1968- 71), Hoskin became professor of fine art at Leicester Polytechnic.
About the Work
Medium: Steel and aluminium
Work type: Sculpture
Measurements:
H 1200 x W 250 x D 250 Cm
Commission for the Physics building on Lancaster University campus.
The Process
During the process of approving the sculpture, the design did not receive much
praise as external opinions from the public revealed that the sculpture was not
aesthetically pleasing and invoked negative emotions.
There was a survey for the approval of the sculpture, in which most people who
participated did not want the sculpture’s location to be on campus. Unexpectedly, the structure was built and placed in campus.
The use of steel and aluminium in this sculpture showcases a structural design.
The nature of metal requires much manual labour therefore his quote ‘’ To
be a sculptor in metal is to be a worker.’’ Is relevant.
County Main – Roger Booth – Lancashire County Council
Coloured and Annotated by Benjamin Houghton
Design Analysis
Looking at the context of the university campus during
County College’s establishment, and County Main’s
completion (1968, 1969). All the buildings on campus
at the time used “a limited range of materials and
finishes, a mellow brick, white-painted timber facias and
renderings,”1 none of which can be seen in the design
of County Main.
Even at a glance, its distinctive, blocky, uniform oriel
windows protruding from its form make it stand out.
But at a fundamental level the differences to its sister
colleges’ buildings are even more clear. Made of “10
basic types of pre-cast concrete components,”2 a
relatively new material process for the time, County
Main distinguishes itself from the other colleges,
through colour, texture, and form – of which is a
heavyset boxlike exterior and an open courtyard within.
Likely influenced by Howell Killick Partridge and Amis
firm’s college building, Hilda Besse for Oxford University
(built 1967-71) where college and concrete come
together in a similar instance, used to create a new
identity architecturally to the future of Oxford University
Post-War. Originating from a time when Oxford was
stagnant, clinging to classical roots that during the
1950s-60s had become almost a caricature of itself.
Trying to maintain its styling and existence from before
the first and second world wars, even though both
economically and socially Oxford had changed and the
greater existence of higher education within the UK
had as well.
The design stood apart in both material use but also its
modernist style joined with historic attributes. In light
of this, Booth’s design can be seen as an upheaval of
the prior status quo UK Universities held that Shepheard
and Epstein were trying to reproduce – from the old
Universities that no longer fit the role of the University.
Similarly, to HKPA’s perspectives on Oxford.
The quadrangle courtyard is a classic motif of historic
Oxford University architecture, and its attributes are
important to student success. The Building consists of
both classrooms and study rooms, but also student
accommodation.
The design is made to stand out, not be out of place.
Catch your eye but not deter you. Booth marries the
beauty and community of previous Colligate design
with the need to expand and improve looking into the
future of education in the Post-War period. This also
follows the ideas of Hilda Besse which introduced the
traditional long common rooms and dining halls in a
modernist context.