Latest news with #SchoolofArt
Yahoo
16-02-2025
- Entertainment
- Yahoo
Would you save this building?
Youth may be wasted on the young. But it seems half a century-old brutalist architecture most certainly is not. The concrete tower housing Wolverhampton's School of Art was erected three decades before the current cohort of students were born, but they are taking to the streets, and studios, to battle against its proposed demolition. In a city centre gallery space, young artists are fashioning a giant robot out of cardboard – the George Wallis building taking on a life of its own. The same could be said of the campaign. In the fortnight since plans emerged to level the nine-storey school, students have already marched in protest, a petition has amassed 6,000 signatures and acclaimed graduates including Claudette Johnson and Keith Piper have spoken out. It comes as The Brutalist – a film up for 10 Oscars and nine Baftas – has introduced a new generation to the love-it-or-hate-it mid-century architectural style. 'A symbol of working-class arts education in the region would be lost,' says the alumnus leading the fight, a 34-year-old artist who goes by the name Bag Lord. 'My love for the building started when I was a kid coming back from the supermarket, driving round the ring road and being, like, whoa, that's epic – it looks like something out of Star Wars, like it could take off.' The block, opened in 1970, was designed by Diamond, Redfern & Partners. The Twentieth Century Society, which has applied for it to receive listed status, wants to see 'its sculptural concrete exoskeleton' upgraded or reconfigured. A spokesman for Historic England says it is assessing the bid. 'In due course we will submit our advice to the Department for Culture, Media and Sport, who will then make the final decision.' Staff tell me they have been told not to speak to the press, while students complain that protest posters put up in the windows have been taken down within the hour. The University of Wolverhampton says its estate is simply too big, 'over-provisioned by 30 per cent, equating to an annual operating cost of £6 million'. Its 'Estates Masterplan' aims to 'improve the student experience, protect jobs, enhance staff welfare and deliver growth', resulting in a new medical school and the relocation of the arts faculty to a 'location TBC'. This alarms Michael Cumming, an award-winning film director who graduated from Wolverhampton in 1985 and says the university is failing 'to recognise that unique, individual buildings can inspire and cultivate unique, individual people. This is a building with spirit, character, integrity and history that stuck two fingers up to the architecture around it.' It is a rare example of a post-war art school that has remained in its original use. Bag Lord says this is evident from every detail of the design: 'The doors and the staircase and lifts – you can get massive paintings and sculptures through them. It's all purpose-built. The light in there is amazing.' Sally Cook, 68, a local retiree, is less interested in the art than the architecture and says the plans to send in the bulldozers are 'an abomination'. 'There are not many places that make Wolverhampton stand out as significant. They'd never think of knocking the Southbank Centre [in London] down. But Wolves, they think they can do anything they like, because people think it's a s---hole and it's not. They'll put something very bland with plastic cladding up in its place.' On the streets of the city, most residents have a gentle affection for the structure. 'It's a bit ugly,' concedes Julie Joyce, a 60-year-old carer, 'but, yeah, of course it should be saved. It's just been there forever – all my childhood. It's our Wolverhampton.' Janet Fletcher, 66, says: 'That's crackers, isn't it? I like it.' But Sarah Groom, 57, a canteen assistant from the nearby village of Codsall, is not a fan. 'No, I think they could put something better there. It's not beautiful and it's not classic – it's not exactly St Paul's Cathedral, is it?' Those left totally cold by brutalism's hefty shapes and rough surfaces may be surprised by the depth of love for George Wallis, which hosted Turner Prize winner Lubaina Himid and Venice Biennale Golden Lion recipient Dame Sonia Boyce when the First National Black Art Convention was held there in 1982. Artist Niki Gandy has lectured and is currently completing her PhD on the site. The threat to the building – and the teaching within it – means so much to her that she got the tower tattooed on her arm in 2021, as courses started to be cut and staff (including her supervisor) were made redundant. 'It was plain to me that it wouldn't be long before our institution would be taken from us,' she says. 'Hence, I decided to wear my colours on my sleeve.' Brutalism buff Christopher Beanland is working on an Edinburgh comedy show about the movement and has written both non-fiction (Concrete Concept) and a West Midlands-set novel (The Wall in the Head) celebrating what he says was a style born in 'an age of optimism' when 'architects were trying to build utopias. There's a lot of ambition, they were aiming for the sublime.' He is thrilled it has become so mainstream that young hipsters have posters of concrete constructions on their walls and The Brutalist star Felicity Jones 'was on The One Show talking about growing up in Birmingham and seeing all the brutalist architecture there'. The movie, starring Adrien Brody as fictional Hungarian architect László Tóth, held its UK photo call at London's beloved rough-hewn labyrinth, the Barbican. Following its release, global Google searches for 'brutalism' have reached their highest in 20 years. Contrary to its detractors, the aesthetic is not meant to denote brutality – béton brut in French simply means raw concrete. But we Brits have a stronger case than most for having invented it. The term was first used by Alison Smithson in 1953 for a house in London's Soho and some of the finest examples were scattered across the Midlands, from Birmingham Central Library (which succumbed to the wrecking ball in 2016) to the Grade II listed Coventry Central Baths. By obtaining listed status, the Twentieth Century Society has helped to save several icons from demolition, including Preston Bus Station and the Richard Dunn Sports Centre in Bradford. But it is still fighting to rescue Birmingham's Ringway Centre and the '50p building', a polygonal tower in Croydon, south London – as well as decommissioned power station cooling towers across the country. Gary Edwards, a 55-year-old Wolverhampton civil servant, has joined the robot makers, after seeing the petition online. 'I was born in the same year as that building,' he says. 'I'd say its values are my values, traditional Wilsonite Labour values – you include people from the community in the arts. Without it, we would lose a sense of place. I know it doesn't look like it, because it looks like a milk crate. 'It wasn't a popular building when it was first built. But it is now part of our psyche and part of our skyline. If it vanished, people might feel there's a hole there, especially if they replace it with something nondescript. Or, even worse – something that looks like it could come from London.' Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
Telegraph
16-02-2025
- Entertainment
- Telegraph
Would you save this building?
Youth may be wasted on the young. But it seems half a century-old brutalist architecture most certainly is not. The concrete tower housing Wolverhampton's School of Art was erected three decades before the current cohort of students were born, but they are taking to the streets, and studios, to battle against its proposed demolition. In a city centre gallery space, young artists are fashioning a giant robot out of cardboard – the George Wallis building taking on a life of its own. The same could be said of the campaign. In the fortnight since plans emerged to level the nine-storey school, students have already marched in protest, a petition has amassed 6,000 signatures and acclaimed graduates including Claudette Johnson and Keith Piper have spoken out. It comes as The Brutalist – a film up for 10 Oscars and nine Baftas – has introduced a new generation to the love-it-or-hate-it mid-century architectural style. 'A symbol of working-class arts education in the region would be lost,' says the alumnus leading the fight, a 34-year-old artist who goes by the name Bag Lord. 'My love for the building started when I was a kid coming back from the supermarket, driving round the ring road and being, like, whoa, that's epic – it looks like something out of Star Wars, like it could take off.' The block, opened in 1970, was designed by Diamond, Redfern & Partners. The Twentieth Century Society, which has applied for it to receive listed status, wants to see 'its sculptural concrete exoskeleton' upgraded or reconfigured. A spokesman for Historic England says it is assessing the bid. 'In due course we will submit our advice to the Department for Culture, Media and Sport, who will then make the final decision.' Staff tell me they have been told not to speak to the press, while students complain that protest posters put up in the windows have been taken down within the hour. The University of Wolverhampton says its estate is simply too big, 'over-provisioned by 30 per cent, equating to an annual operating cost of £6 million'. Its 'Estates Masterplan' aims to 'improve the student experience, protect jobs, enhance staff welfare and deliver growth', resulting in a new medical school and the relocation of the arts faculty to a 'location TBC'. This alarms Michael Cumming, an award-winning film director who graduated from Wolverhampton in 1985 and says the university is failing 'to recognise that unique, individual buildings can inspire and cultivate unique, individual people. This is a building with spirit, character, integrity and history that stuck two fingers up to the architecture around it.' It is a rare example of a post-war art school that has remained in its original use. Bag Lord says this is evident from every detail of the design: 'The doors and the staircase and lifts – you can get massive paintings and sculptures through them. It's all purpose-built. The light in there is amazing.' Sally Cook, 68, a local retiree, is less interested in the art than the architecture and says the plans to send in the bulldozers are 'an abomination'. 'There are not many places that make Wolverhampton stand out as significant. They'd never think of knocking the Southbank Centre [in London] down. But Wolves, they think they can do anything they like, because people think it's a s---hole and it's not. They'll put something very bland with plastic cladding up in its place.' On the streets of the city, most residents have a gentle affection for the structure. 'It's a bit ugly,' concedes Julie Joyce, a 60-year-old carer, 'but, yeah, of course it should be saved. It's just been there forever – all my childhood. It's our Wolverhampton.' Janet Fletcher, 66, says: 'That's crackers, isn't it? I like it.' But Sarah Groom, 57, a canteen assistant from the nearby village of Codsall, is not a fan. 'No, I think they could put something better there. It's not beautiful and it's not classic – it's not exactly St Paul's Cathedral, is it?' Those left totally cold by brutalism's hefty shapes and rough surfaces may be surprised by the depth of love for George Wallis, which hosted Turner Prize winner Lubaina Himid and Venice Biennale Golden Lion recipient Dame Sonia Boyce when the First National Black Art Convention was held there in 1982. Artist Niki Gandy has lectured and is currently completing her PhD on the site. The threat to the building – and the teaching within it – means so much to her that she got the tower tattooed on her arm in 2021, as courses started to be cut and staff (including her supervisor) were made redundant. 'It was plain to me that it wouldn't be long before our institution would be taken from us,' she says. 'Hence, I decided to wear my colours on my sleeve.' Brutalism buff Christopher Beanland is working on an Edinburgh comedy show about the movement and has written both non-fiction (Concrete Concept) and a West Midlands-set novel (The Wall in the Head) celebrating what he says was a style born in 'an age of optimism' when 'architects were trying to build utopias. There's a lot of ambition, they were aiming for the sublime.' He is thrilled it has become so mainstream that young hipsters have posters of concrete constructions on their walls and The Brutalist star Felicity Jones 'was on The One Show talking about growing up in Birmingham and seeing all the brutalist architecture there'. The movie, starring Adrien Brody as fictional Hungarian architect László Tóth, held its UK photo call at London's beloved rough-hewn labyrinth, the Barbican. Following its release, global Google searches for 'brutalism' have reached their highest in 20 years. Contrary to its detractors, the aesthetic is not meant to denote brutality – béton brut in French simply means raw concrete. But we Brits have a stronger case than most for having invented it. The term was first used by Alison Smithson in 1953 for a house in London's Soho and some of the finest examples were scattered across the Midlands, from Birmingham Central Library (which succumbed to the wrecking ball in 2016) to the Grade II listed Coventry Central Baths. By obtaining listed status, the Twentieth Century Society has helped to save several icons from demolition, including Preston Bus Station and the Richard Dunn Sports Centre in Bradford. But it is still fighting to rescue Birmingham's Ringway Centre and the '50p building', a polygonal tower in Croydon, south London – as well as decommissioned power station cooling towers across the country. Gary Edwards, a 55-year-old Wolverhampton civil servant, has joined the robot makers, after seeing the petition online. 'I was born in the same year as that building,' he says. 'I'd say its values are my values, traditional Wilsonite Labour values – you include people from the community in the arts. Without it, we would lose a sense of place. I know it doesn't look like it, because it looks like a milk crate. 'It wasn't a popular building when it was first built. But it is now part of our psyche and part of our skyline. If it vanished, people might feel there's a hole there, especially if they replace it with something nondescript. Or, even worse – something that looks like it could come from London.'
Yahoo
09-02-2025
- Entertainment
- Yahoo
Artists decry ‘irresponsible' plans to demolish brutalist Midlands tower
Artists and conservation groups have decried the 'irresponsible' plan to tear down a brutalist arts tower at a Midlands university, saying the proposed redevelopment is overlooking the 'massive historical significance' of the structure. The University of Wolverhampton has earmarked the nine-storey School of Art, which is also known as the George Wallis building, for demolition as part of a 'radical' expansion proposal. But it has faced opposition from the Twentieth Century Society, which has submitted a listing application to Historic England that could prevent its destruction. Built between 1966 and 1970 and designed by Diamond, Redfern & Partners, the building sits beside Wolverhampton Wanderers' Molineux Stadium and is one of a small number of brutalist buildings of its type that remain in good condition. 'This is an excellent surviving example of a postwar art school that has remained in its original use and survives in very good condition, and is loved by both staff and students,' a Twentieth Century Society spokesperson said. 'It clearly has abundant potential to be sympathetically upgraded or reconfigured to suit whatever plans the university may develop in the years to come. On the other hand, demolition would simply be wasteful, irresponsible and anti-growth.' Historic England is assessing the School of Art and will submit its advice to the Department for Culture, Media and Sport, which will make the ultimate decision. A listing would mean the arts tower was of 'special architectural or historic interest' and would have legal protection from demolition. Gavin Rogers, a senior lecturer in fine art and photography at the university, said many students were 'angry, confused and disappointed' by the demolition plan. 'Yes, it can get a bit cold in the winter and some double glazing would be nice, but any replacement would never match the spirit that this building offers,' he said. The building was the site of the First National Black Art Convention in October 1982, where many of the most celebrated British artists of the last four decades congregated to discuss what black art was for in the early part of the Thatcher era. Sonia Boyce, who won the Golden Lion at the Venice Biennale in 2022 for her work Feeling Her Way, was in attendance, as was the Black Audio Film Collective, including John Akomfrah, who represented the UK at the Venice Biennale last year. The Turner prize winner Lubaina Himid was present that day, as were other Turner nominees Ingrid Pollard (who also won the Hasselblad award in 2024) and Claudette Johnson, who had a studio in the building and was awarded an honorary doctorate by the university in 2022 for 'her contribution to the arts and creative industries sector'. Other alumni include Cornelia Parker and the founder of the design website Dezeen, Marcus Fairs. Johnson was part of the Blk Art Group, which formed in Wolverhampton and included Janet Vernon, Dominic Dawes, Wenda Leslie, Ian Palmer, Marlene Smith, Eddie Chambers and Donald Rodney, who is the subject of a major retrospective that comes to the Whitechapel Gallery this week. Another member of the group, Keith Piper, who recently responded to the Rex Whistler mural at Tate Britain, said the building was a site of 'massive historical significance'. He said: 'As the site of the First National Black Art Convention in October 1982, it will for ever be the location where artists who would become central to the development of British art of the following decades met for the first time and went on to form some of the most important collaborations of the decade and beyond.' The event was commemorated at an anniversary conference in 2012 and a symposium in 2023, while a research project was set up by Piper and the rest of the Blk Art Group that includes audio recordings from the event in which Boyce, Johnson and Himid can be clearly heard. A university spokesperson said that under the current redevelopment plan the School of Art and Creative Industries would be relocated to a different building 'where we will develop new, modern, inspiring teaching and learning spaces that help to foster creativity, collaboration, innovation and an enriched student experience.'This is a very exciting time for the University of Wolverhampton and we look forward to working with our staff, students and partners to deliver this ambitious and transformative programme.'
The Guardian
09-02-2025
- Entertainment
- The Guardian
Artists decry ‘irresponsible' plans to demolish brutalist Midlands tower
Artists and conservation groups have decried the 'irresponsible' plan to tear down a brutalist arts tower at a Midlands university, saying the proposed redevelopment is overlooking the 'massive historical significance' of the structure. The University of Wolverhampton has earmarked the nine-storey School of Art, which is also known as the George Wallis building, for demolition as part of a 'radical' expansion proposal. But it has faced opposition from the Twentieth Century Society, which has submitted a listing application to Historic England that could prevent its destruction. Built between 1966 and 1970 and designed by Diamond, Redfern & Partners, the building sits beside Wolverhampton Wanderers' Molineux Stadium and is one of a small number of brutalist buildings of its type that remain in good condition. 'This is an excellent surviving example of a postwar art school that has remained in its original use and survives in very good condition, and is loved by both staff and students,' a Twentieth Century Society spokesperson said. 'It clearly has abundant potential to be sympathetically upgraded or reconfigured to suit whatever plans the university may develop in the years to come. On the other hand, demolition would simply be wasteful, irresponsible and anti-growth.' Historic England is assessing the School of Art and will submit its advice to the Department for Culture, Media and Sport, which will make the ultimate decision. A listing would mean the arts tower was of 'special architectural or historic interest' and would have legal protection from demolition. Gavin Rogers, a senior lecturer in fine art and photography at the university, said many students were 'angry, confused and disappointed' by the demolition plan. 'Yes, it can get a bit cold in the winter and some double glazing would be nice, but any replacement would never match the spirit that this building offers,' he said. The building was the site of the First National Black Art Convention in October 1982, where many of the most celebrated British artists of the last four decades congregated to discuss what black art was for in the early part of the Thatcher era. Sonia Boyce, who won the Golden Lion at the Venice Biennale in 2022 for her work Feeling Her Way, was in attendance, as was the Black Audio Film Collective, including John Akomfrah, who represented the UK at the Venice Biennale last year. The Turner prize winner Lubaina Himid was present that day, as were other Turner nominees Ingrid Pollard (who also won the Hasselblad award in 2024) and Claudette Johnson, who had a studio in the building and was awarded an honorary doctorate by the university in 2022 for 'her contribution to the arts and creative industries sector'. Other alumni include Cornelia Parker and the founder of the design website Dezeen, Marcus Fairs. Johnson was part of the Blk Art Group, which formed in Wolverhampton and included Janet Vernon, Dominic Dawes, Wenda Leslie, Ian Palmer, Marlene Smith, Eddie Chambers and Donald Rodney, who is the subject of a major retrospective that comes to the Whitechapel Gallery this week. Another member of the group, Keith Piper, who recently responded to the Rex Whistler mural at Tate Britain, said the building was a site of 'massive historical significance'. He said: 'As the site of the First National Black Art Convention in October 1982, it will for ever be the location where artists who would become central to the development of British art of the following decades met for the first time and went on to form some of the most important collaborations of the decade and beyond.' The event was commemorated at an anniversary conference in 2012 and a symposium in 2023, while a research project was set up by Piper and the rest of the Blk Art Group that includes audio recordings from the event in which Boyce, Johnson and Himid can be clearly heard. A university spokesperson said that under the current redevelopment plan the School of Art and Creative Industries would be relocated to a different building 'where we will develop new, modern, inspiring teaching and learning spaces that help to foster creativity, collaboration, innovation and an enriched student experience.'This is a very exciting time for the University of Wolverhampton and we look forward to working with our staff, students and partners to deliver this ambitious and transformative programme.'
BBC News
07-02-2025
- Business
- BBC News
Petition to save University of Wolverhampton's School of Art
A former student of the University of Wolverhampton has launched a petition to save the university's School of university has announced plans to demolish the Brutalist building as part of its estates masterplan, saying the estate is "too large".However, the former art student campaigning to save the site - who wished to be identified by the name under which he creates, Bag Lord - says it is a landmark to be preserved."This enriches the region, it enriches the area," he told the BBC. "It pumps out students that have an ambition to make our lives more colourful, and [is] nice to look at, and I don't know why we have to put a money sign on that." Bag Lord said people from Wolverhampton "know what we are, we know we're not Venice, but we're also a place that people love living [in], and we like the things we've got, so let's just embrace them and use them and utilise them."The university says it is planning to relocate the School of Art into a different building, as well as close its Telford campus next August, moving the teaching into its campuses in Wolverhampton and 2022, a slew of courses at the school closed due to a financial deficit within the university, but teaching continues within the university said: "Our estate is too large. It is over-provisioned by 30%, equating to an annual operating cost of £6m. "Releasing this resource will enable the university to invest in key strategic areas that will improve the student experience, protect jobs, enhance staff welfare and deliver growth."Meanwhile, Historic England has told the BBC it is in the process of assessing the School of Art for listed status, and will submit its advice to the Department for Culture, Media and Sport, which will make the final decision. Despite what the university says, former and current students agree with Bag Lord that the site should remain. Gary Marshall graduated from the university in 1992 and now lives in Yorkshire, but visited Wolverhampton for old times' sake and to see where he told the BBC: "I don't think you should knock things down for the sake of it. "You tend to find churches stay for a long time, in some ways this is our church for people who do this sort of stuff, hence why we come back every so often."[It's] almost a pilgrimage, in a sense. This is where I got my degree. I think it's important."Hannah Bishton, a fine arts student at the university, said she worked with glass and ceramics, and that finding the same facilities at another university would be a struggle. Follow BBC Wolverhampton & Black Country on BBC Sounds, Facebook, X and Instagram.
