Students:
- James Buckland
- Leanna Teale
- Isaac Evans
- Rozerin Eldeniz
- Georgie Lewis
Bailrigg House
Bailrigg house was our groups given piece of architecture on cam-pus. It is a Grade II listed building that existed long before the university site was decided on, originally serving as a homestead for the surrounding farms. In 1887, the estate was purchased by Sir Thomas storey and, and on his death in 1897, it passed to his son, Herbert Lushington Storey. At that time, the estate comprised of 523 acres of land and three farms, Hazlerig, Bigforth and Bailrigg, and Burrow House.as designed by Woolfall and Eccles between 1899-1902. Woolfall & Eccles was an architectural partnership formed in Liverpool, England, in 1890 by Thomas Edgar Eccles (1865-1946) and John Woolfall (1838-1919), and it was constructed in a neo-Elizabethan style. It pre-existed as an estate for wealthy landowners, however Bailrigg house is now used for the university and most recently it is used for the architecture school, providing workspaces for second and third year students.
Whilst the house itself was designed by Woolfall and Eccles, the garden was designed by Ernest Milner and extended by Tomas Mawson in 1907. Thomas Hayton Mawson (1861-1933) was the landscape architect for Bailrigg house. Thomas was born in Scorton, Lancashire which meant that he was local to the area of Bailrigg house, therefore he designed many other landscapes for various other buildings, many of which are in the Lake District in places such as Windermere for ex-ample, Holehird gardens in Windermere which displays a beautiful landscape.
Dual Form
Dual Form was created by Barbara Hepworth in 1965 and was cast in 1966 along with seven other sculptures that are located around the world. In 1969 Lancaster University purchased the sculpture to make it a part of the Peter Scott Gallery. Since 1969 the sculpture has been moved around campus and places in different locations, now it is located in the heart of campus, Alexandre Square. Throughout her career, Hepworth portrayed various styles of artwork and the dual form represents her earlier style of simple forms with pierced hollows. The sculptures were cast in bronze in 1966 by Morris Singer Foundry, Morris and Hepworth’s relationship had begun in 1959 and from then onwards the two ‘established a close and harmonious collaboration’. Morris also had a history of working with other artists such as Henry Moore, Lynn Chadwick and Richard Polich. Some of Hepworth’s biggest works and commissions were cast by Morris, such as Single Form and Winged Figure.
Single Form is one of Hepworth’s most significant public commis-sions and largest work, it is primarily flat, asymmetrical and widely oval, with a circular opening towards the top. It is a bronze piece that is 21 feet in height (6.4 metres) and is located at the United Nations Building in New York. The sculpture was commissioned by the Jacob and Hilda Blaustein Foundation after the death of United Nations Secretary General Dag Hammarskjöld who was
a friend and frequent collector of Hepworth’s work. Through the construction of the sculpture, Hepworth stated “Throughout my work on the ‘Single Form’ I have kept in mind Dag Hammarskjold’s ideas of human and aesthetic ideology and I have tried to perfect a symbol that would reflect the nobility of his life, and at the same time give us a motive and symbol of both continuity and solidar-ity for the future.”. Like most of Hepworth’s artworks,
Single Form portrays again the deep influence of how her relationship with the people and world around her inspired her work. Single Form had numerous variations but the one which belongs to the United Nations building is the most significant version. This is due to it being dedicated to Secretary-General Dag Hammarskjöld. In 1970 Edin Mullins, an art critic, implied that “It is a torso, it is a profile with an eye, it is an expanse of space in which the sun rises, it is a blade, it is a human hand … raised flat in a sign of authority, or of salute, or as a gesture of allegiance.”. Through such interpretations, it is clear that Hepworth’s sculptures frequently represent the human form, and this has been conveyed several times through her sculptures such as the torso, the figure of a woman, an infant, a seated figure and the artist’s hand. All of these sculptures express how Hepworth was one with woman-hood, motherhood and the relationships she had with her loved ones around her, and how she didn’t shy away from embracing this and using it to her advantage of inspiration.
Initially, the location of the sculpture made it difficult to appreciate Hepworth’s work as you can only see the front of the sculpture and it is also surrounded by bushes which when overgrown cover up parts of the sculpture. But it perfectly represents how Hepworth wanted her artwork to be a part of the landscape and have social interactions with people.
Each Dual Form sculpture is located in seven different parts of the world such as Lancaster University (Peter Scott Gallery), Guildhall (St Ives), Leed City Art Gallery, Rijksmuseum Kröller-Müller (Otterlo, The Netherlands), Phillips Collection (Washington DC), Portland Art Museum (Portland, Oregon). The human form is frequently depicted in Hepworth sculptures, and Dual Form most strongly conveys the idea of two forms coming together and embracing their connection, the sculpture gives off the impression of two people intertwining and almost becoming one, while also being able to maintain their own form and being.