343:, demolished in 1961–2. The Fulham Study was requested by the Minister of Housing and Local Government, and envisaged "an improbably massive redevelopment" of the area, which drew on the Smithsons' earlier projects for Sheffield and Berlin. At the same time a new form of prefabricated dwelling was experimented with, "the only constraint" upon which "was that it should stack up into a tower structure". For Fulham, the pod-like units were arranged in terraces (compared by Crosby to Georgian terraces) and towers. This housing system had "originated in discussions for the CIAM Congress 1955", and illustrated ideas shared with the Brutalists and Team X. Indeed, for all his subsequent questioning of modernist urban theory Crosby never lost faith in the Smithsons' call for an architecture "Without Rhetoric."
493:"The new education for architects and designers and artists must aim for a public, rather than a private expression. We must design to include pleasurable work for others, and ... learn to transcend the industrial system ... e have to invest in convivial work ... This means among many other things, to encourage art and craft of every kind, to make them part of the public realm; to make out of a necessity a kind of utopia where everything is beautiful ... That means more intelligence at every level"
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203:. At first his main job was laying out the pages, for which he sought guidance from the Central School, but was "rebuffed". It was left to the painter Edward Wright to provide him with some instruction a couple of years later. He also "designed beautiful abstract covers, sometimes including the odd word to describe the theme du jour – "houses", "roofs", "Sheffield" – but rarely featuring photography or even buildings". During his tenure the early works of
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been founded on the principle that architects and diverse craftspeople could be educated together, but Crosby's approach to the teaching curriculum was considered by many RCA students to be too traditional and limiting of creative freedom. He met with much resistance, which took its toll on his health. He set out his "hopes and intentions" as
Professor in his Inaugural Address as follows:
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523:, and a highly decorated structure housing a restaurant, all set within a piazza placed above an open-plan booking hall. For the Globe itself (to which he devoted 17 years of historical research), Crosby insisted upon natural materials (oak and thatch) and high quality craftsmanship, "Man-made materials banned from the site"
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other and have I suppose often wondered why such occasions, generous and spontaneous are so rare". Three years later he designed a pavilion at the Milan
Triennale, for which he was awarded Gran Premio. Fletcher Forbes Gill, the design company that Crosby would subsequently join, produced the graphics for the pavilion.
535:, but protocol forbade it. The breakthrough occurred shortly after this, when Wanamaker was persuaded to construct some trial bays of the building, to hint at what a finished building would look like: a characteristic Crosby initiative, which helped to unlock sufficient public and private funds to realise the vision.
364:, having asked Crosby to redesign its boardroom, was then persuaded to work with Fletcher on a new corporate identity and logo. The team "had an ability to combine the formal restraint of Swiss modernism with the wit of the Madison Avenue advertising industry", which "set them apart from other British design firms"
137:. His post-VE day travels around that country introduced him to a world—of urbanity and cultural generosity—which he had never experienced in South Africa, and which opened his eyes to the power of the public realm. He settled in England in 1948, following the South African government's official sanctioning of
648:"I have come to value that memory, of cafes, of leisured discussions about very little, of closely built, dirty and beautiful buildings, of well made fittings, of marvellous floors and pavings, gifts to the public": from Theo Crosby's Inaugural Address as Professor of Architecture and Design at the RCA, 1990
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appropriate for a time when it seemed affluence and cheap natural resources could not be relied upon to continue; and which would have to be forged, not from grand ideologies, but from small things readily to hand. This was an argument expanded two years later in a pair of "Lethaby
Lectures" jointly
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Congress, held in London in 1961, both of which combined architecture and graphics in a striking fashion. Such projects also reinforced his belief in the desirability of cross-disciplinary work in the arts. Later he remembered how, after completing the UIA project "we all felt very pleased with each
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had been published two years before), Crosby argued that his own sphere, design—centred as it was on small enterprises—provided an attractive alternative to the bureaucratic model of decision-making then prevalent. In this, and in other respects, these lectures anticipated the enterprise culture of
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During the 1970s a number of factors led Crosby to review the fundamental tenets of modernist architecture and urbanism, causing him to look critically at his own efforts of the 1960s, and setting him at odds with many of his architectural colleagues. A profound sense that architecture and urbanism
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exhibition "How to play the environment game" was an extensive, accessible primer on the manifold factors that determine the shape and appearance of the city. In this exhibition Crosby rehearsed many of the arguments he would deploy until his death against the strident modernism adopted during the
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from 1990 to 1993 was initially seen as a way of influencing architectural education in line with such principles. However, soon after he took up the post, the Prince decided, along with his advisers, that a better course might be to establish an independent
Institute of Architecture. The RCA had
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Many aspects of the Prince's agenda had been earlier anticipated by Crosby: for example the critique of large-scale 1960s planning; the call for wider participation; the desire to re-incorporate art and craft in the built environment; and the acceptance of formal and stylistic "games" designed to
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and Mervyn
Kurlansky, to form Pentagram, which was organised as a horizontal cooperative of equals, in which profits were shared, and staff and overheads pooled. Pentagram went on to build up a formidable worldwide reputation. Throughout the Pentagram years Crosby's passion for publication was
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Crosby wrote that the exhibition was "evidence of attempts towards a new sort of order, a way towards that integration of the arts that must come if our culture is not merely to survive, but come truly to life". It was, he said later, "my first experience at a loose, horizontal organisation of
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Crosby didn't live to see the completion of the rebuilding of
Shakespeare's Globe on the south bank of the Thames. Here he was able to put into effect many of his long-held convictions about building, including something he had recommended in his "Pessimist Utopia" lectures: breaking down a
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equals", and claimed it was the inspiration behind the distinctive organisation of
Pentagram. In characteristic fashion, Crosby—alert to practicalities—sold the ads that made the memorable exhibition catalogue possible. In 1960 he showed his own sculpture at the ICA, alongside paintings by
95:(3 April 1925 – 12 September 1994) was an architect, editor, writer and sculptor, engaged with major developments in design across four decades. He was also an early vocal critic of modern urbanism. He is best remembered as a founding partner of the international design partnership
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there, and was particularly impressed by the group's discussions of the impact of mass communication and information theory on architecture and design. It was Crosby who suggested, and steered to completion, what would be the
Independent Group's swansong—the watershed exhibition
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magazine, and persuaded the institute to mount an exhibition—Living Cities—in 1963, to foreground the urban theories of the young
Archigram group. He also found the money for the show (from the Gulbenkian Foundation), and featured it in a special edition of
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on ways of promoting his agenda for architecture and urbanism. The group helped to draft the Prince's influential speech to the 1987 Corporation of London
Planning and Communication Committee's Annual Dinner which kick-started his campaign for
177:, with whom he would later form a design partnership. The Central, with its emphasis on cross-disciplinary work, would have a lasting effect on Crosby's view of the architect's role. He also formed links at this time with the modernist
554:—when the immediate neighbourhood of the Globe was visibly neglected—Crosby had the imagination to visualise his new complex standing at the centre of a new, vibrant, cultural quarter, which he referred to as "Shakespeare Village".
441:(ARA: he was elevated to full RA status in 1990), and set up the Art and Architecture Society to encourage greater co-operation across disciplines, and greater use of artists and craftspeople by developers. A&A championed a "
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Equally important to the project was Crosby's never-say-die attitude, and his belief in the power of demonstration. By 1990 activity on site had virtually stalled, after 20 years of effort by the project's main protagonist,
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In 2006 the 36 Pentagram Papers were compiled by Delphine Hirasuna, and published by Chronicle Books. The compilation contains much useful information about the founding and evolution of Pentagram and the genesis of the
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present in British towns and cities. The enterprise didn't survive him, but since his death new technologies (such as Google Street View) have realised its ambitions to a greater extent than he could have hoped.
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from the design partnership Fletcher Forbes Gill, Crosby joined to form Crosby Fletcher Forbes, reportedly after Fletcher and Forbes had considered extending their proposals for the corporate identity of
925:, 26 September 2006. In his Inaugural Address as Professor of Architecture and Design at the RCA (1990) Crosby says the reason was that he had "got a piece of the British Pavilion at Montreal's EXPO 67"
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398:—a "prophet of sanity" to whom he devoted a section of the exhibition. After concluding at the Hayward, the exhibition travelled through England, Scotland and Wales, ending up in Stockholm.
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Unilever House interiors, Blackfriars, London, 1979 (a "test bed for the reintroduction of artists into the building process"; disposed of in the 2006–07 refurbishment of the building);
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exhibition). This led to his Summer Schools in Civil Architecture (1990–93), which evolved first into The Prince of Wales's Institute of Architecture (1992–2001), and subsequently
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His early mentor Monica Pidgeon had become convinced of this through her encounter with John Turner's work on the shanty towns of South America. See Diana Rowntree's obituary,
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1960s: the need to value history and, in particular, the monument; the necessity of bringing back craftsmanship to the environment; the requirement to understand what grants a
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of 1965, Crosby refers to "a sharp and salutary meeting with Jane Jacobs. I hadn't read her book at the time". This was in 1963 in New York. He read the book on the plane home
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The job had come to Crosby due to his colleague Monica Pidgeon's presence on the organising committee of the 1961 Congress. See Diana Rowntree's obituary of Pidgeon in
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large-scale development into smaller, more visually comprehensible, parts. In addition to the "wooden O" itself, he provided a smaller theatre based on a design by
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in 1956. Characteristically the exhibition was organised around twelve multidisciplinary teams. Crosby collaborated on his installation with graphic designers
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The late 1950s and early 1960s saw Crosby add to his reputation as an architect through a number of temporary exhibitions. With Edward Wright he produced the
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912:, p.96. In fact CIAM held no Congress in 1955, so Crosby probably had in mind discussions held in 1955 in advance of the 1956 Congress (CIAM X) on Habitat
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had become a "game" played between experts, which left the public on the sidelines, led him to champion public participation in planning. His 1973
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and Edward Wright, and the sculptor William Turnbull. The installations which garnered most attention, however, were those of Richard Hamilton,
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Crosby has been described as a "hidden hand" during this period, uniting the separate spheres of Archigram, the Architectural Association, and
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minimise the effects of large-scale development. A number of the "10 Principles We Can Build Upon", which formed the core of the argument of
1098:, Nov. 1994, p.17. Hanson was Secretary in Architecture to The Prince of Wales, and first Director of The Prince's Institute of Architecture
481:(The Place, Hierarchy, Scale, Harmony, Enclosure, Materials, Decoration, Art, Signs & Lights, and Community) were indebted to Crosby.
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magazine, which was seeking to bring a more youthful, vital and progressive approach to the subject than the previously dominant
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to encompass the architecture of Shell gas stations. The decision to have an architect on the team was soon vindicated when
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in British architecture and design from 1950 to 1990 helped effect much broader changes. Crosby's archive is located at the
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The inspiration for it had largely been Edward Wright's. It was published by the Whitefriars Press (who also published
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magazine's stands at the 1955 and 1958 Building Exhibitions, and the congress and exhibition buildings for the 6th
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What Crosby intends by pessimism in these lectures is virtually identical to Roger Scruton's definition of it in
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Ulster Terrace conversion, Regent's Park, London (an early example of a new building behind a preserved facade);
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expressed through a provocative series of "Pentagram Papers" (the title most likely a punning reference to the
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The Sesquipedalist blog (www.sesquipedalist.com), 16 March 2009. This blog has shown a consistent interest in
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in south west England. The Euston project envisaged a city of towers to replace the Victorian station and
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It was in the Hayward exhibition too that Crosby introduced his notion of a "Pessimist Utopia": a
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The exhibition ran from April to June, and its contents were published in book form by Penguin
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Barbican Centre interior improvements, City of London (overtaken by 2005–06 improvements).
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Facetti had been a student in Wright's evening class at the Central School
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in London, combining this with studying sculpture in the evenings at the
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In 1987 he was invited to become a member of a select group advising
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Between 1958 and 1960 five issues of the "little" arts magazine
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The framing of this proposal was no doubt influenced by the
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University of Brighton Design Archives: Theo Crosby Archive
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and John Voelcker (with its Pop-Art imagery including
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62:Learn how and when to remove this message
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896:Theo Crosby,
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835:
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563:Chalcot House
560:
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545:
541:
536:
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529:Sam Wanamaker
524:
522:
511:
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499:Domesday Book
494:
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209:Norman Foster
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171:Alan Fletcher
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163:Edward Wright
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29:This article
27:
18:
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1157:
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1137:
1133:
1129:
1121:
1120:Prologue to
1116:
1103:
1096:Perspectives
1095:
1090:
1078:. Retrieved
1074:
1064:
1056:
1051:
1044:The Guardian
1043:
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1034:
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884:
883:Peter Cook,
879:
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866:
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854:
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833:
828:
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815:
808:The Guardian
807:
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672:The Guardian
671:
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606:
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583:
565:, Wiltshire;
556:
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503:Spitalfields
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235:at London's
221:
216:
198:
194:
192:
175:Colin Forbes
127:Le Corbusier
120:
104:
87:
86:
76:
58:
49:
30:
1207:1994 deaths
1202:1925 births
1149:Rawstorne,
743:, pp. 49–50
719:New Society
544:Tate Modern
521:Inigo Jones
396:Jane Jacobs
289:Living Arts
284:Living Arts
270:John Latham
266:Peter Blake
245:John McHale
88:Theo Crosby
1196:Categories
770:Ron Herron
542:to become
181:, and the
179:MARS Group
52:March 2024
1124:, line 13
885:Archigram
507:ensembles
277:Uppercase
139:apartheid
97:Pentagram
870:Sadler,
781:Sadler,
550:link to
353:Bob Gill
337:Hereford
1140:, p.100
1122:Henry V
797:, p.161
691:in 1955
615:(1987);
609:(1970);
597:(1965);
467:V&A
414:(whose
362:Reuters
38:Please
1163:op cit
1151:op cit
1138:op cit
1080:9 June
968:op cit
957:Papers
874:, p.84
872:op cit
849:, p.46
847:op cit
834:op cit
823:, p.51
821:op cit
785:, p.33
783:op cit
741:op cit
685:op cit
403:Utopia
333:Fulham
946:ibid.
935:ibid.
129:, at
1082:2020
910:ibid
795:ibid
341:Arch
255:and
211:and
173:and
161:and
145:on
1198::
1136:,
1073:.
758:AD
754:AD
689:AD
473:.
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272:.
261:AD
217:AD
207:,
185:.
157:,
113:.
92:RA
1084:.
65:)
59:(
54:)
50:(
46:.
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