by Gordon Edington
Le Corbusier, writing in the 1930s, took a typically robust attitude to the idea of placing works of art in buildings. “Architecture,” he said, “is an event in itself. It can exist quite independently. It has no need for either sculpture or painting…. If the clear, sane language of the architecture is ruined by the introduction of inappropriate painting or sculpture, if the artist is unable to enter into the spirit or goes against its spirit, it is like so many crimes of deceit.”
Le Corbusier’s philosophy was in stark contrast to those who, in the late 19th century, were influenced by Ruskin and Morris, where the objective was the closest collaboration of art, architecture and design. In 1888 William Emerson, a future president of the RIBA, appealed for architects and sculptors to “work together in the first concept of designs, and … not desire to be independent of each others’ views in carrying out of works”. Henry Wilson, an arts and crafts architect, went further: “It is not enough to have panels to fill and friezes to flounder in; the sculptor ought to be in on the very birth of the building and advise on the management of the mass and the distribution of light and shade.”
While understanding what Le Corbusier and Wilson, at opposite ends of the spectrum, were trying to achieve and the context within which they were working, I incline to Emerson’s point of view. For many years now, Lynton, in common with a number of enlightened developers, has introduced works of art into its buildings. The purpose of this article is threefold: to explain why I believe art has an important place in architecture; to offer advice on how this can best be achieved; and to point out some of the problems and pitfalls which may arise and how they may be avoided.
There are different motivations and objectives for placing art in buildings, ranging from a pure philanthropic gesture to a clumsy marketing tool. For most it is a desire to improve the working environment in a reasonably cost-effective way. A building is an intrusion and potential imposition on society, and those responsible for it have a moral imperative to ensure that high standards prevail. The ability to make changes is exciting and challenging, but it also brings great responsibility. There are exceptions, but generally the 1980s brought a refreshing rediscovery of the importance of well-designed buildings and, like Emerson, I believe that art can make a good building better so long as art and architecture are brought together in a co-ordinated way.
Art in buildings must serve a purpose and in some cases this has been achieved with distinction. William Pye’s water sculptures at Gatwick Airport’s North Terminal, Jetstream and Slipstream, with water gently running down the spiral stainless-steel cones, serve a number of purposes. The passenger is kept occupied as he or she walks down a spiral ramp and can enjoy the thin film of falling water pulled by surface tension into rhythmical wave patterns. The passenger is also reminded of the characteristics of air movement, with connotations of jet and rocket propulsion and vapour trails. At a time of potential stress, the traveller is also relaxed by the gentle sound of running water. The sculptures are therefore functional as well as aesthetically pleasing. They have also unexpectedly become a “wishing well”, generating income for local charities.
Amusement can be gained from art, lightening the burden of a Monday morning. For me, this is typified by the Broadgate Venus, by Fernando Botero, commissioned by Rosehaugh Stanhope for Exchange Square, Broadgate. This is a wonderfully executed bronze, 7m long and weighing 5,550 kilos, of a large lady in a reclining pose with twinkling toes. You have got to smile.
Artwork can also be functional in the physical sense, as at GRE’s Princes Square shopping scheme in Glasgow, where the staircase railings reflect the art nouveau theme at the centre. Art can tell stories too. At Lynton’s shopping centre at Tunsgate Square, Guildford, the object was to have an artistic centrepiece which would pull the diverse parts of the centre together. The sculptor, Martin Jennings, working with poet Matt Black, has created a story in the form of a poetry trail that links the cycle of life to life within the centre.
The poetry is inscribed in bronze tablets all leading to the heart of the square and each inscription is written to suit its location such as “Into the heart returning” as one is standing in the middle of the square. Including the leaf casts, there are 44 pieces making up the sculpture, which culminates in a figure standing next to a bronze bowl in which leaves have collected, falling “Into the heart” and signifying the end of the cycle.
With careful planning, private commissions within buildings can be enjoyed by the public. At Lynton’s Lansdowne office building in Croydon, Danny Lane’s glass sculpture, as well as being visible from the offices around the atrium, is designed to catch the eye of the passer-by. Interest is thereby created and a clear corporate message is given to both business visitors and employees — the company recognises its obligations to create a better environment for its workforce. There is a financial payback because an improved working environment will result in falls in absenteeism and staff turnover, leading to lower recruitment and training costs and therefore improved productivity. A further example of a private commission visible from a public pavement is Chalice, William Pye’s water sculpture recently completed for Greycoat at 123 Buckingham Palace Road, adjoining London’s Victoria Station.
What is the financial return to the developer who incorporates art in commercial buildings? Few can ignore the bottom line for long and at Tunsgate Square, Guildford, Lynton commissioned a survey to assess shoppers’ reactions to the works of art. The majority were interested in the artwork, recognised its local references, appreciated the attention to detail and were beginning to feel possessive about the works which were becoming part of the fabric of Guildford.
Developers have been slow to appreciate the relevance of customer service, but it is as applicable to a shopping centre as it is to a hotel or an airline. In the case of a shopping centre, it is the job of the developer to do all he can to enhance the shopping experience of the tenant’s customers, who are also the developer’s customers. Product offer, value for money and quality of service are primarily the responsibility of the retailer, but the retailer must rely on the developer to create and maintain the quality and ambience of the development — which can be enhanced by artwork. The payback is not easy to quantify but it is there in the form of more satisfied customers.
Risk of vandalism is often given as a reason for not commissioning works of art in public places, but experience shows that this perception is not borne out by fact. British Rail has commissioned works in many different locations, all of them accessible to the public, and there have been very few incidences of graffiti or physical damage. Works of quality seem to be respected by us all.
Incorporating art into a building presents difficulties and challenges which must be solved during the evolution of the design. Art as an afterthought is rarely successful and success is achieved only when artist and architect work together from the initial design stage. This means that the artist effectively becomes part of the design team and indeed the construction team. The developer’s task is to establish a framework where all members of the development team understand the objectives of the artwork, recognise the skills of the artist and are encouraged to contribute to the artistic success. As the building takes shape the artist will find himself working alongside contractors and working, as they are, to a defined budget and programme. Art can obliquely send the entire building workforce a strong message — the developer cares, attention to detail is vital and everyone must be committed to a project of the highest quality.
Who are the patrons of art in commercial buildings and how do they discharge their responsibilities? More often than not they are committed individuals working for shareholders in a corporate structure, but do they have the right to impose their artistic views on others? For me, the answer must be “yes”. There are many difficulties to be overcome in the development process and the incorporation of art brings problems. We need individuals who have the drive to ensure that these problems are solved, so that art has its rightful place in new architecture. Not all of us will like these works but at least patrons like Stuart Lipton of Stanhope and Geoffrey Wilson of Greycoat give us the choice — we can look and enjoy, but if we don’t like what we see, we can look the other way and leave it to others to appreciate. At Broadgate I can enjoy Botero’s Venus but, equally, I can allow others to enjoy Richard Serra’s Fulcrum.
A knowledgeable client is essential in ensuring that the commissioning process runs smoothly and an organisation such as the Public Art Development Trust can oil the wheels and thereby minimise potential difficulties. The PADT is a registered charity and encourages the siting of works of art in public places by offering a consultative and management service to potential sponsors of public art projects. The PADT can also advise on contract terms and other issues such as terms of payment, insurance, copyright and guarantees.
In deciding on a project my company may look at the portfolio of up to 10 artists who work in a medium and in a style that meets the objectives set out in the art design brief. This process ensures that younger, less-well-known artists have an opportunity to display their talents alongside those who have an established reputation. Three of the artists will then be shortlisted and briefed in detail by both client and architect. The artists will then be asked to submit design proposals including a maquette as well as information on programming and costs. To minimise abortive work, only a small number of artists are asked to compete and I favour offering an equal sum to each for that competition work. The winning artist will then be formally commissioned and introduced into the design and construction team so that the artwork can be incorporated in a streamlined and trouble-free way.
Some advocate that a certain percentage of building costs should be allocated to the commissioning of works of art and craft. This would certainly maximise art in buildings, but perhaps it is a policy that could lead to a dilution of effort and effect.
Public art is encouraged by public recognition, and companies such as Capital & Counties have greatly encouraged new works through their sponsorship of the annual Art and Work Awards. Other notable award schemes are run by the Royal Society of Arts (through their Art for Architecture Awards) and the Association of Business Sponsorship of the Arts/Daily Telegraph.
Development talent and artistic talent are available in abundance. Let us hope that these two elements come together more often, thereby ensuring that developments in the next decade are characterised by good architecture, enhanced where appropriate by works of art. If we can achieve this, the city will be a better place in which to live, the sometimes mundane shopping trip will become less so, and we will be leaving behind an artistic and architectural heritage for future generations to enjoy.
