By Iain Jackson
Maxwell Fry and Jane Drew have been pioneers of recent structure in Britain and its former colonies from the overdue Nineteen Twenties via to the early Seventies. As a barometer of 20th century structure, their paintings strains the main cultural advancements of that century from the improvement of modernism, its unfold into the late-colonial area and at last, to its re-examination that ended in a extra expressive, formalist strategy within the post-war era.This ebook completely examines Fry and Drew's hugely influential 'Tropical structure' in West Africa and India, when additionally discussing their British paintings, similar to their publish global struggle II initiatives for the competition of england, Harlow New city, Pilkington Brothers' Headquarters and Coychurch Crematorium. It highlights the collaborative nature of Fry and Drew's paintings, together with schemes undertaken with Elizabeth Denby, Walter Gropius, Denys Lasdun, Pierre Jeanneret and Le Corbusier. Positioning their structure, writing and academic endeavours inside of a much broader context, this ebook illustrates the numerous creative and cultural contributions made by way of Fry and Drew all through their long careers
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Extra resources for The Architecture of Edwin Maxwell Fry and Jane Drew: Twentieth Century Architecture, Pioneer Modernism and the Tropics
Fry’s shortening of his name to ‘Max Fry’ can be traced back to his signature on these pencil sketches of 1922. 71 Fry’s creation of an architectural persona – hinting at modernity and informality – is the first indication that he had understood the lessons of Reilly in the impact that self-promotion and hyperbole could have on his career. 4). For the preliminary round of the prestigious competition the entrants designed a rail and road bridge over a gorge and Fry’s entry, although fairly uninspiring, featured in the school’s prospectus.
Despite the interest and opportunity, Fry found this to be a difficult time, not least because of the friendship that emerged between Drew and Le Corbusier. He also felt that he was missing out on opportunities elsewhere, and in the UK in particular. When he returned to London in 1954 he struggled for some years to build up the practice and to position his work within the emerging debates surrounding modernity and monumentality. Despite Fry’s struggle to reintegrate, substantial projects continued throughout West Africa and India largely dominated by the oil industry and associated bank buildings that followed in its wake.
A revised scheme was eventually drawn up, principally by Reginald Blomfield, and the five-year rebuilding of the Quadrant began in April 1923, causing considerable outcry amongst the architectural community. 93 Fry suggests this was his route into the Design and Industries Association (DIA), and thus the beginnings of his life as a modernist. Yet Fry’s education at Liverpool had prepared the ground for this transitional phase; Regent Street was exactly the type of grand civic plan promoted by Reilly.