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Glasgow School of Art
Form follows fun: modernism and modernity in British pleasure architecture 1925-1940

Form follows fun: modernism and modernity in British pleasure architecture 1925-1940

Peter, Bruce, 1974-

Submitted in part-fulfillment of the degree of Doctor of Philosophy at Glasgow School of Art

Manuscript. English.
Published Glasgow: Glasgow School of Art, 2005

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    149775 Special Collection (Ask at Desk) 'Theses'/PET Dissertation Available
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Details

Statement of responsibility: Bruce Peter
Note: This thesis aims to establish how and why the architecture of pleasure matched the stylistic and ideological concerns of Modernism and to document the professional, entrepreneurial and institutional infrastructures affecting its development and appearance. It will argue that, in responding to flux of modernity, Modernism in the architecture of pleasure was appropriately ephemeral. Paradoxically, this fashionability undermined existing conceptions ofwhat constituted 'good' architecture and design. 'Theorising the architecture of pleasure' examines Modernism in relation to perceptions of high and mass culture in the inter-war era. Thereafter, 'Modernism and a typology of pleasure' establishes a range of building types for discussion in the remainder of the thesis. 'Professional relationships' investigates the various systems of influence and networks of patronage affecting the uptake ofModemism in the architecture of pleasure. 'Modernism and the geography ofpleasure' questions why the architecture of pleasure was concentrated in what appear to have been 'fringe conditions' - the seaside, suburbia and within the walls of amusement parks, zoos and exhibitions. Thereafter, 'Construction and architectural servicing' argues that dissemination of the Modern Movement in Britain was concurrent with, and related to, the expansion and rapid advances in architectural technology during the 1930s. Finally, catering and staffing are examined in 'Consuming and experiencing the architecture of pleasure' to show how Modernism was received by users through the architecture ofpleasure. In conclusion, it is argued that responses to Modernism through the architecture of pleasure were conditioned by wider debates about the role of design in relation to high and mass culture. The architecture of pleasure often simultaneously reflected and undermined Modernism's aims to provide an egalitarian experience and spiritual uplift in environments of a high design quality.
Dissertation note: PhD Glasgow School of Art 2005
Physical Description: 2 v. : ill., plans ; 30 cm.
Cited: EThOS, 484948