By Iain Jackson
Maxwell Fry and Jane Drew have been pioneers of recent structure in Britain and its former colonies from the past due Nineteen Twenties via to the early Nineteen Seventies. As a barometer of 20th century structure, their paintings strains the foremost 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 led to a extra expressive, formalist process within the post-war era.This booklet completely examines Fry and Drew's hugely influential 'Tropical structure' in West Africa and India, while additionally discussing their British paintings, resembling their put up global conflict II initiatives for the pageant 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 publication 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
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14). 125 Indeed, with its blend of Arts and Crafts and restrained Neo-Georgian features, the house was typical of the type published by the magazine during this period. Fry also continued his work at Kemsley and designed the Village Club House in 1929, a two storey, Neo-Georgian brick building, with rather grand aspirations for such a small settlement. The club house faces the village square and, as the main entertainment venue for the paper-mill workers, formed the focus of village life. The scale of the building is only slightly greater than the domestic properties of the village, but in order to illustrate its public function Fry introduced more Classical detailing and gained extra height with the addition of a lantern.
The group included Ethel Leese (b. 102 The couple set up home in Chelsea and, while Fry may not have enjoyed his professional life during the mid-‘twenties, the period marks a critical period in Fry’s architectural development. 103 Fry was appointed as an assistant to the Chief Architect, James Rob Scott (1882–1965), designer of Waterloo Station, which also housed the Southern Railway architects’ offices. 105 Clearly, Fry was eager to minimize the significance of his work at Southern Railways. 9).
He was not only a graduate of the Liverpool School of Architecture, but he was a product of the city itself. His childhood instilled in him values that remained throughout his lifetime and directly influenced his approach to the built environment. In his memoirs, written in the 1970s, the long shadow of his childhood experience is evident, played out against the backdrop of a city full of vitality. At the beginning of the twentieth century, the time of Fry’s birth, Liverpool was one of the most prosperous ports in the world.