Hostname: page-component-848d4c4894-sjtt6 Total loading time: 0 Render date: 2024-06-16T22:02:05.766Z Has data issue: false hasContentIssue false
  • English
  • Français

In the presence of absence: Cambridge's forgotten masterpiece. The Cornford house by Colin St. John Wilson (1967)

Published online by Cambridge University Press:  19 August 2008

Michael Spens
Michael Spens
Affiliation:
44b The ScoresSt. AndrewsFife KY16 9ASUnited Kingdom
Get access Rights & Permissions [Opens in a new window]

Abstract

The house is not widely known but has been praised by a distinguished circle since its completion, including Aldo Van Eyck and Christian Norberg-Schulz. It represents a fusion of European revision of modernism as a model of the continuity of ‘The Other Tradition’ with avant-garde American design concepts of the late 1960s. Quite distinct from the work of the New York Five, for example, it is, the author claims, nonetheless related to it through the architect's teaching involvement with the Yale and MIT schools from 1960. Today it remains a significant architectural icon, and following the death of its owners is in need of formal listing and statutory protection.

Type
Design
Information
arq: Architectural Research Quarterly , Volume 2 , Issue 1 , Autumn 1996 , pp. 26 - 37
Copyright
Copyright © Cambridge University Press 1996

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Architectural Review (1968). ‘12 Houses: Village Group’, The Architectural Review, 08 1968, pp. 93–94, 102–104.Google Scholar
Barnett, J. (1968). ‘House in Cambridge: Colin St. John Wilson’, Alll Times, No. 8 (Spring), pp. 16–17.Google Scholar
Cruickshank, D. (1996). ‘Turn End’, RIBA Journal, 10 1996, pp. 56–63.Google Scholar
Frampton, K. (1996). Studies in Tectonic Culture, MIT Press, Cambridge, Mass.Google Scholar
Newman, O. and Joedicke, J. (1961). Documents of Modern Architecture 1: CIAM '59 in Otterlo, Karl Kramer, Stuttgart.Google Scholar
Rowe, C. and Frampton, K. (1972). Five Architects, Wittenborn, New York.Google Scholar
Rykwert, J. (1968). ‘Inghilterra’, Domus, No. 465, 08 1968, pp. 14–15.Google Scholar
Scully, V. (1974). The Shingle Style Today or The Historian's Revenge, George Braziller, New York.Google Scholar
Tafuri, M. (1976). ‘European Graffiti’, Five x Five, Oppositions 5, pp. 35–71.Google Scholar
Venturi, R. (1966). Complexity and Contradiction in Architecture, Museum of Modern Art, New York.Google Scholar
Van Eyck, A. (1962). In ‘Doorstep’ section of ‘Team 10 Primer’, Architectural Design, December, 1962 later republished as Team Ten Primer, Studio Vista, London, 1968, p. 104.Google Scholar
Wilson, C. St. J. (1961). ‘Open and Closed’, Perpecta: The Yale Architectural Journal, No. 7, pp. 97–102.CrossRefGoogle Scholar
Wilson, C St. J. (1964). ‘Gerrit Rietveld: 1888–1964’, The Architectural Review, 12 1964, pp. 399–402.Google Scholar
Wilson, C. St. J. (1992). Architectural Reflections, Butterworth-Heinemann, Oxford.Google Scholar
Wilson, C. St. J. (1996). The Other Tradition of Modern Architecture, Academy Editions, London.Google Scholar
Zucchi, B. (1992). Giancarlo De Carlo, Butterworth Architecture, Oxford.Google Scholar