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By 1966, Time Life combined its book offerings with music collections (two to five records) and packaged them as a sturdy box set. He trained at Preston and Manchester and the Royal College of Art. STRUCTURE AND MATERIALS In November 1951 modifications were approved for a double-height reception area which opened directly off the stairwell and onto this terrace. Deliberately measured rectilinear block, laid out on a rigorous 7.5m grid, the Bruton Street elevation in four bays, the entrance to the third bay; the New Bond Street elevation in five bays; three full-height bays, two bays of two storeys beneath Moore's structural screen. Although it’s inescapably touristy, a rotation on the London Eye really is a must for any first-time visitor to the UK capital. The building was refurbished in 1991-3 by Elsworth Sykes Partnership, reversing the previous horizontal division of the reception area but further enclosing the room, and installing glazed screens in the ground floor foyer. For a copy of the full scale map, please see the attached PDF - 1264063.pdf. He brought in Misha Black and many of the team from the South Bank, for example, Peter Shepheard to design the terrace, and Leonard Manasseh to design the dining rooms. The staircase balustrade by R Y Goodden and Ellis Miles, finished in black leather, tooled and patterned with brass studs, was designed to light up. See how you can help. * Interior plan: designed as a series of linked spaces moving from the entrance, through the foyer, rising via the main stair to a double-height first-floor reception room and thence to the terrace; * Historic interest: built as the London headquarters for the American company Time Life, it was an expression of confidence in post-war Britain, and was the first major commercial building in London that was not subject to post-war building restrictions. PLAN Music and video collections now make up the core of company's product offering. Historic England holds an extensive range of publications and historic collections in its public archive covering the historic environment. He was perhaps best known as a public figure, administrator and teacher, in 1952 setting up the School of Interior Design at the Royal College of Art, which he ran until his retirement in 1975, and as President of the Royal Academy from 1976-1984. Running above the plywood seating on this wall was a canopy, decorated on the underside with murals by the architect Oliver Cox (1920-2010), depicting the various courses of a meal. On the west elevation is a raised geometrical abstract form in tooled stone. The building was designed to stand free of the buildings round it, and as there is no conventional lightwell, the open space between it and its neighbours, from the second floor upwards is important. Ground floor currently divided into three shops. Shops below have plain, rectangular, polished buff stone entrances and dark grey plinths and shop windows in moulded frames, some replaced or over-painted. Architect: Michael Rosenauer, for the shell of the building ... Time Life was the first of a series of enterprising American companies to patronise good architects and designers in a way not matched by native entrepreneurs. 15 x 38 7/8 x 2 7/8" (38.1 x 98.7 x 7.3 cm). He collaborated with Moore on one other notable, although unsuccessful, competition entry for the English Electric Company on the Gaiety Theatre site in London. INTERIOR Read about our current news, projects and campaigns nationally and in your area. Ground floor display windows have ogival moulded polished bronze frames. Adjacent to the entrance, 'The Complexities of Man', a welded iron sculpture by Geoffrey Clarke RA (b 1924); opposite the stair, 'Spirit of Architecture', 1952 by Ben Nicholson (1894-1982); both were commissioned for the building and have been ruled integral to the building. Astrolabe, the clock by Christopher and Robin Ironside and also under threat at the time, was not considered integral and has since been removed. Principal interiors are clad in travertine and hardwood. In 1998 a judicial review ruled that the three works of art commissioned for the building, which at the time were under threat of removal, were integral to the building, namely: Draped Reclining Figure by Henry Moore, Complexities of Man by Geoffrey Clarke and Spirit of Architecture by Ben Nicholson. He trained at Preston and Manchester and the Royal College of Art. On the internal longitudinal wall is a balcony, now enclosed. © Historic England Archive. A glazed wall, installed in 1983, now separates the foyer from the former reception area. In some areas the hardwood is replicated in an applied and painted finish to match the original. Shops below have plain, rectangular, polished buff stone entrances and dark grey plinths and shop windows in moulded frames, some replaced or over-painted. The interior attracted attention when the Time and Life Building was opened in June 1953, when it was the subject of a seminar organised by the Institute of Contemporary Arts. He collaborated with Moore on one other notable, although unsuccessful, competition entry for the English Electric Company on the Gaiety Theatre site in London. Seven storeys, the top storey set back, all above a basement and car park. The building was refurbished in 1991-3 by Elsworth Sykes Partnership, reversing the previous horizontal division of the reception area but further enclosing the room, and installing glazed screens in the ground floor foyer. He was appointed Director of Architecture to the Festival of Britain in 1948, a high profile job which led to prestigious commissions and for which he was knighted. The building or site itself may lie within the boundary of more than one authority. The Time and Life Building was specifically designed to stand free of the buildings around it, and as there is no conventional lightwell, it is naturally lit from the terraced open space between it and the adjacent building on New Bond Street. Clarke (b 1924) is noted for both his cast metal sculpture, particularly in aluminium, and for designs for stained glass windows. They are not necessarily always correct, as book names Moore later had the idea of trying to make the four components of the frieze revolve, but the building work was too advanced and the concept too expensive to carry out. Also, Sandersons, in Berners Street, of 1957-60, by Reginald Uren (also Grade II*) incorporated glass by John Piper. The interior attracted attention when the Time and Life Building was opened in June 1953, when it was the subject of a seminar organised by the Institute of Contemporary Arts. Bronze. It was intended as a free-flowing space, using a muted palette of colours and natural finishes, a popular combination of the period. The Time Life company was founded by Time, Incorporated, in 1961, as a book marketing division. Mounted on the transom above the entrance is a nickel bronze sculpture, 'The Symbol of Community' by Maurice Lambert RA (1901-1964), part of the original artwork and integral to the building. Time & Life building on the corner of New Bond Street and Bruton Street in Mayfair, London W1. This double-height space is lit by two tiers of near full-height windows and by doors which open onto the terrace. The central lift stack, with two opposing secondary stairwells wrapped round it, occupies minimum space. The ceiling is coffered in rectangular panels inside a deep border which extends beyond the current confines of the room and above the balcony. Time Life set a precedent followed by other international companies, notably the Cummins Engineering Building in Darlington by Roche and Dinkerloo (1962, listed Grade II*) and the Heinz headquarters at Hayes, Hillingdon by Skidmore Owings and Merrill (1962-65, listed Grade II*). His work includes the nave windows for Coventry Cathedral and the Treasury at Lincoln Cathedral, and fixtures and fittings at Coventry and Chichester cathedrals and for the Worshipful Company of Goldsmiths. He showed at the Venice Biennale in 1952 and has since been included in major exhibitions of British sculpture, at the Tate in 1960, Royal Academy in 1972 and the Whitechapel Gallery in 1981. Find out about listed buildings and other protected sites, and search the National Heritage List for England (NHLE). In November 1951 modifications were approved for a double-height reception area which opened directly off the stairwell and onto this terrace. He was perhaps best known as a public figure, administrator and teacher, in 1952 setting up the School of Interior Design at the Royal College of Art, which he ran until his retirement in 1975, and as President of the Royal Academy from 1976-1984. It was intended as a free-flowing space, using a muted palette of colours and natural finishes, a popular combination of the period. The staircase balustrade by RY Goodden (1909-2002) and Ellis Miles, is finished in black leather, tooled and patterned with brass studs, and was designed to light up. No other building of the post-war period, save Coventry Cathedral, had artists of such calibre working upon it. The building was designed to stand free of the buildings round it, and as there is no conventional lightwell, the open space between it and its neighbours, from the second floor upwards is important. We would like to reassure our customers that we are observing government advice on COVID-19 and adhering to all guidance and best practice. ORNAMENTAL PASSIONS: Time - Life Building, New Bond Street W1 The Time and Life Building stands alongside other important buildings of the time in central London such as Congress House, the TUC Memorial Building, designed by David du R Aberdeen in 1948 and built in 1953-57 (Grade II*), which includes a war memorial in the form of giant sculpture by Jacob Epstein, set against a courtyard screen, and built-in sculpture by Bernard Meadows. Enriching the New Bond Street elevation, the screen by Henry Moore - the integration of sculpture with the architecture - is formed of four colossal abstract figures within shaped, near rectangular openings. In some areas the hardwood is replicated in an applied and painted finish to match the original. The first floor reception area, now offices and showroom, has reverted to a double-height space but is slightly reduced in length. The Time & Life Building, designed by the Rockefeller family’s architects, Harrison & Abramowitz & Harris, opened in 1959, meaning that Don Draper et al. planning permission related to listed buildings or the listing process itself. INTERIOR STRUCTURE AND MATERIALS (Henry Moore, Volume II: Sculpture and Drawings 1949-54, 1965.) Read about our latest aerial investigation methods. Designed by architect Michael Rosenauer. Book cover links are generated automatically from the sources. This building is listed under the Planning (Listed Buildings and Conservation Areas) Act 1990 as amended for its special architectural or historic interest. However, for the interior they were free to choose their own designers, appointing Sir Hugh Casson, recently Director of Architecture to the Festival of Britain. Split level terrace gardens at 1st floor level at the rear and 2nd floor level facing Bond Street bring light into the building on all sides, and particularly as originally conceived, to the double-height reception area, now offices and show rooms. The terrace was designed by Peter Shepheard, who landscaped the South Bank Festival site, with Moore’s draped figure as the centrepiece of the lower terrace. After the perceived jauntiness of the Festival of Britain, the project provided the opportunity for a more serious and potentially longer lasting tribute to British design. First floor offices (now Hermès) overlooking New Bond Street, have been subdivided, according with the structural grid, and refitted. These photographs of the exterior of listed buildings were taken by volunteers between 1999 and 2008. This site is entirely user-supported. This double-height space is lit by two tiers of near full-height windows and by doors which open onto the terrace. at Amazon may not be quite the same as those used referenced in the text. 11:11 am. The Time and Life Building was specifically designed to stand free of the buildings around it, and as there is no conventional lightwell, it is naturally lit from the terraced open space between it and the adjacent building on New Bond Street. He was aligned with the group of like-minded artists and designers who advocated the application of constructivist principles of mathematical precision, clear lines and lack of ornament to public and private art. His award of the International Prize for sculpture at the 1948 Venice Biennale marked a turning point in his career. Having studied at the Slade School of Art, his work was inspired by Post Impressionism and Cubism, producing his first geometric and abstract reliefs in 1933. It occupies a corner plot on New Bond Street and Bruton Street, the main entrance being on Bruton Street. The main entrance to Bruton Street has a curved, polished, buff marble surround to a moulded steel door frame that includes a glazed overlight, the forms reminiscent of the inter-war period. His background in designing working-class housing in Vienna gave him a reputation for compact planning. Time and Life Building,1951-3 by Michael Rosenauer, interiors under the direction of Sir Hugh Casson, is listed at Grade II* for the following principal reasons: * Architectural interest: intended as a showcase for British design, the interiors designed by Sir Hugh Casson, Director of Architecture to the Festival of Britain, and his Festival team; * Integrated art: unusually rich integration of art and architecture, a rare example of sculpture by Henry Moore used in this way; augmented by works of art from the leading artists of the day, ruled integral to the building; At the end of 2003 Time Life was sold by Time, Inc. and as a result is no longer affiliated with that organization. John Laing Collection JLP01/08/007475, New Heritage Partnership Agreement Signed at King's Cross Station, Brixton Windmill - Friends of Brixton Windmill. Time Life Building New Bond Street, London, England. Three walls were glazed, the fourth panelled. The information and images below are the opinion of the contributor, are not part of the official entry and do not represent the official position of Historic England. Time & Life Building, London. Lambert worked in both stone and bronze, varying from portrait busts to more abstracted sculpted figures, for example for the liner the Queen Elizabeth. Lieutenancy Area (Ceremonial County): Greater London, Church of England Parish: St George, Hanover Square. Cox's small line drawings were enlarged photographically, further worked on and coloured, to striking effect. This copy shows the entry on 30-Jan-2021 at 12:37:39. In 1983 the reception area was closed off from the upper landing and stairwell to create a conference room, reduced in height. Other fittings included a wall clock, set within sun and lion supporters, and designed by Christopher and Robin Ironside (removed). Curtains in the reception area (later the conference room) were designed by F H K Henrion. Cox's small line drawings were enlarged photographically, further worked on and coloured, to striking effect. Jan 2, 2014 - Time & Life building on the corner of New Bond Street and Bruton Street in Mayfair, London W1. Astrolabe, the clock by Christopher and Robin Ironside and also under threat at the time, was not considered integral and has since been removed. Henry Moore. His award of the International Prize for sculpture at the 1948 Venice Biennale marked a turning point in his career. In April 1963 the publication The Studio claimed of the Time and Life Building that 'no other commission has integrated Moore's work in architecture so completely.'. Office floors above this level are also refitted. In the post-war period Michael Rosenauer (1884-1971), became a leading exponent of the design of commercial buildings. Search from Time & Life Building stock photos, pictures and royalty-free images from iStock. The Time and Life Building stands alongside other important buildings of the time in central London such as Congress House, the TUC Memorial Building, designed by David du R Aberdeen in 1948 and built in 1953-57 (Grade II*), which includes a war memorial in the form of giant sculpture by Jacob Epstein, set against a courtyard screen, and built-in sculpture by Bernard Meadows. From the entrance, steps rise to the foyer and stairwell, the latter since the 1990s enclosed behind glazed screens at ground floor level. The Time & Life Building was the first expansion of Rockefeller Center west of the Avenue of the Americas. The exterior is clad in Portland stone above the ground floor which is clad in buff polished stone above a dark grey plinth. Ground floor currently divided into three shops. His background in designing working-class housing in Vienna gave him a reputation for compact planning. Likewise the basement and car park are not of special interest. Split level terrace gardens at 1st floor level at the rear and 2nd floor level facing Bond Street bring light into the building on all sides, and particularly as originally conceived, to the double-height reception area, now offices and show rooms. For the shell of the building they used Michael Rosenauer, the architect appointed by the freeholder, Pearl Assurance, in 1950. The following information has been contributed by users volunteering for our Enriching The List project. Designed by architect Michael Rosenauer. Construction on the Time-Life Building's steelwork started in April 1958, and the structure topped out in November of that year. (Henry Moore, Volume II: Sculpture and Drawings 1949-54, 1965.). Images of England was a photographic record of every listed building in England, created as a snap shot of listed buildings at the turn of the millennium. In April 1963 the publication The Studio claimed of the Time and Life Building that 'no other commission has integrated Moore's work in architecture so completely.' Conserving the Fog Battery Station on Lundy Island. First floor offices (now Hermès) overlooking New Bond Street, have been subdivided, according with the structural grid, and refitted. Moore later had the idea of trying to make the four components of the frieze revolve, but the building work was too advanced and the concept too expensive to carry out. On the west elevation is a raised geometrical abstract form in tooled stone. The above map is for quick reference purposes only and may not be to scale. PLAN Elsewhere shop interiors and office spaces are completely refitted and are not of special interest. The focal point of the lower terrace is the Draped Reclining Figure by Henry Moore, again specifically designed for the building and ruled integral to it. more. For the shell of the building they used Michael Rosenauer, the architect appointed by the freeholder, Pearl Assurance, in 1950. WRENBRIDGE LTD London, TIME + LIFE BUILDING 1 BRUTON STREET in London Mayfair, Phone 020 7409 5521 with Driving directions Time & Life Building Jobs in London - December 2020 | … The outer faces towards New Bond Street are more deeply modelled than the flatter rear faces. Photography by Iwan Baan, Courtesy of MoMA Moore wrote extensively on his two commissions for Time Life, welcoming this opportunity to integrate sculpture into a building: 'The fact that it is only a screen with space behind it, led me to carve it with a back as well as a front, and to pierce it, which gives an interesting penetration of light, and also from Bond Street makes it clear that it is a screen and not a solid part of the building.' 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