Building utopia with prog
Updated: Jan 16
I was offered, and accepted, a new job this week. My rolling post-retirement contract with the private organisation that was drafted in to save my employer of the preceding 27 years staff costs was cancelled so I had to seek out an appropriate alternative rather quickly. When I last applied for a post there was an Activities or Interests section at the bottom of resume templates but in an effort to ensure that all candidates are treated equally, this paragraph is redundant and rightly ignored during the interview process. Mine is still there and three of the items listed are ‘progressive rock’, ‘bass guitar’ and ‘architecture’. This last item is the most recent addition to the list and was included because my son did an Architecture degree, sparking my interest in the subject. In a curious twist, he blames his parents for setting him down that path; we must have dragged him around every National Trust and English Heritage property in the South East and many more elsewhere. Now, family holidays invariably include seeking out some example of architectural vernacular, some special building or a World Heritage site.
Het Schip, Amsterdam. Public housing designed by Michel de Klerk in 1919. A must-see on a family holiday to the city
Architecture is one of the most visible displays of wealth. Corporations inhabit huge edifices, the super-rich live in characterless high-rise Thames view apartments, and old money resides in country retreats. This is rather ironic because, according to the Architects’ Journal (AJ), architects tend to vote Labour. I think the publication itself reads like The New Statesman; last week’s edition was singing the praises of Jeremy Corbyn!
I’m particularly fond of modernist architecture which, fairly early in the twentieth century, set out in a radical new direction when Auguste Perret (1874 – 1954) began to build structures out of reinforced concrete without any ornamentation. His idea was for the exterior to reflect the inner structure, rather than hiding it, a concept of design integrity that was initially inspired by William Morris and the Arts and Crafts Movement. Based on the analysis in Music of Yes and Listening to the Future by Professor Bill Martin, I wrote a letter to Prog magazine, The Future of the Left, which was published in issue 24 (March 2012) pointing out the link between progressive rock and socialism, via William Morris.
Brutalism, one of my favoured schools of architecture, has been described as an uncompromisingly modern form of architecture able to generate extreme emotions and heated debate. Characterised by large forms of often asymmetrical proportions, the use of unadorned concrete added to its misplaced reputation for suggesting a bleak, dystopian future. I think this is far from the truth and there are others who agree with me. An item on BBC Breakfast (September 8th 2015) with architect Harriet Harriss and Joe Watson from the National Trust explored this myth; Harriss pointing out the touchy-feely nature of the buildings because of the imprint left on the concrete surfaces by the timber formers and Watson expounding the opinion that this was utopian architecture and that the NT, as an extension of their role, was going to open up these buildings for special tours. Put in context, this was a heroic architecture, with local authorities addressing the requirement for decent housing in the years following the Second World War. The planners and architects were visionaries, though it would be foolish to suggest that there weren’t failures. Harriss pointed out that this was cutting-edge and that it did involve some experimentation, because of the acute need for housing; issues regarding damp were now able to be addressed and examples of the idiom preserved. The most interesting point was made by Watson, who commented that architecture indicates where political power lies in our society and illustrated this notion by naming the Church and the aristocracy, which agrees with my earlier point about architecture as a display of wealth. He believes that during the 50s and 60s there was a shift in power to the people through local councils and they responded with this heroic, sublime architecture; the accommodation provided indoor bathroom suites, defined kitchen areas, fully wired and ready for appliances, and central heating, things that tenants couldn’t previously have imagined. Harriss made the point that the National Theatre (by Denys Lasdun, 1914 – 2001) was successful because it fulfilled one of the main aims of this school of architecture, namely ending the exclusivity of the arts and making it far more accessible, opening it up to a new, wide-ranging audience. The external appearance, with its many decks that can be interpreted as a series of performance platforms, reflects the function of the building. The music that accompanied the archive footage was chosen for its dystopian feel: the Blade Runner soundtrack by Vangelis (1982.)
The National Theatre (Denys Lasdun, completed 1976)
The connection of this form of architecture to prog is precisely the same as Harriss pointing out why the National Theatre is a success; ending the hegemony of the rich over the arts. The seeds of progressive rock emerged during the ‘Massive’ period of Brutalism (defined by Alexander Clement as running from 1960 – 1975) when society was changing rapidly spurred on by technological innovation; the technology behind construction was changing and in music, instrument design and recording techniques were rapidly developing. Not only did concert halls such as the Royal Festival Hall (part of the same South Bank Complex as the National Theatre) and the Barbican Centre (officially opened in 1982 during the Brutalist ‘Transitional’ period) provide culture to a wider range of the population, institutions like the University of East Anglia, a famous Brutalist structure opened in 1963, were attracting a wider social range of students and it was the new Universities and Polytechnics that provided a circuit for touring nascent rock acts. My first forays to see bands outside Barrow were at Lancaster University which opened to students in 1964 (Barclay James Harvest, 1975; Focus, 1976).
Prog attempted to take high culture and make it accessible to the masses through the medium of rock music. European art music was critical to the success of proto-progressive acts such as The Nice, the Moody Blues and Procol Harum and these gave rise to symphonic prog bands. This form was initially praised by critics and the budding genre became accepted by some of the more forward thinking institutions; Pink Floyd played the Royal Festival Hall in April 1969 during their experimental The Man and the Journey tour. This relationship with the critics changed when some of the exponents of prog undertook massive projects that were beyond the comprehension of many and led to charges of pretentiousness and overblown self indulgence. This period of prog, the end of the ‘golden era’ coincides with a rejection of Brutalism by planners and the transition to less monumental forms, an increased use of brick and the uninspiring Neo-vernacular. As prog played out councils were reducing investment in their concrete estates, former beacons of hope for a fairer society, allowing the misplaced idea of the dystopian landscape to take hold. It’s good that there has been a re-evaluation of progressive rock and a re-evaluation of this egalitarian architecture.
My local concert hall, Croydon’s Fairfield Halls (opened in 1962) features some great acoustics and was another favoured haunt of successful prog acts during the early 70s. The Nice's Five Bridges was recorded there in 1969; Live at the Fairfield Halls is a classic set of Caravan material recorded in 1974; and most of Ricochet part 2 was recorded at a Tangerine Dream performance at the Fairfield Halls in October 1975.
Brutalism is the architecture of progressive rock.
Fairfield Halls, Croydon