Denys lasdun biography of martin
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Campaigning for outstanding buildings
June 2016 - Institute of Education, London
by Andy Davies
In February 1969 a momentous debate within the University of London about the redevelopment of a Georgian square in their Bloomsbury home marked the end of the free hand of authorities to plan cities in the Modernist tradition. The scars of that battle remain visible today in the juxtaposition of Woburn Square’s remaining Georgian terraces with Denys Lasdun’s Brutalist buildings.
In 1959 the University had commissioned Leslie Martin and Trevor Dannatt to produce a development plan for the Bloomsbury precinct. It won the support of both the London County Council and the Royal Fine Art Commission and led directly to Martin’s recommendation to the University that the 45-year old Lasdun be appointed to prepare the first detailed designs. Attention had been drawn to Lasdun (1914-2001) by his building for the Royal College of Physicians and his work in Bloomsbury proceeded alongside the long-awaited National Theatre (1967-76) on London’s South Bank, the crowning achievement of his career.
His brief was for a new extension to the School of Oriental and African Studies (SOAS) and a new building along Bedford Way, accommodating the Institute of Education, the Law Institute, and a
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The Philips Building by Denys Lasdun – home of SOAS Library
By Katie Price|May 27, 2015|1970s, Uncategorized, What SOAS means to you|18 comments
This week, Andy Davies talks about the distinctive home of the world-renowned SOAS Library and explains why the building should be given greater recognition.
SOAS College Building (left) and the later Philips Building
Denys Lasdun (1914-2001) was in the vanguard of modern British architecture. A product of the Architectural Association, his talents grew under Wells Coates and at Tecton in the 1930s. Perhaps most celebrated for his Royal College of Physicians (completed in 1964), his University of East Anglia (1968) and Christ’s College, Cambridge (1970) saw him develop a monumental, geological language reflecting his belief of architecture as the city in microcosm. His design for the National Theatre on the South Bank (1976) famously drew sharp comment from the Prince of Wales, while enjoying far wider critical acclaim for his visionary treatment of the site.
Strangely, his extension for SOAS overlooking Woburn Square, completed in 1973 and later named for former director Professor C.H. Philips, is not widely considered among his best work, despite its particularly satisfying interior. Lasdun had been recomm
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