Hayward Gallery, South Bank, London
Client: Arts Council of Great Britain
Date: Completed 1982
CZWG recreated in the Brutalist interior of the Hayward the flavour of various phases of Lutyen’s architecture, from the formal to the romantic. The exhibition was planned to provide a coherent route thought Lutyen’s career, culminating in the grand finale of the Liverpool cathedral model.
There was a dangerous irony in an exhibition about the master of natural materials being extravagantly constructed from chipboard and paint.
This transformation of the Hayward Gallery set a trend for atmosphere exhibitions, put us on the map, and set us back five years in awe.
‘The heart of the show was the huge yellow gallery where Lutyens’ great country houses were presented. Massive photographs, a high space, curved walls and an abundance of superb planting successfully conveyed the atmosphere of a long hot Edwardian summer afternoon. Beautifully hand-written lettering spelt out the great litany of names of his glorious houses- Varengeville, Berrydown, Little Thakeham, Marshcourt, Heathcote, Deanery, Folly Farm- each one more splendid than the one before. Photographs were arranged in a checkerboard pattern derived from the flint and chalk painting at Marshcourt. Indeed, Piers Gough wanted the display material to consist of horizontals and verticals assembled like architectural elements.
The culmination of the exhibition was the great room devoted to New Delhi, Liverpool cathedral and his war memorials. The classical public nature of theses commissions called for a simple solution which allowed for the dominance of the materials, particularly the great model of the cathedral. Piers Gough adapted the covered ceiling from New Delhi and washed the walls in hot pink like the sandstone of that city. It was a simple and effective solutionone that led naturally to the archedexit, where the still features of Sir Edwin’s death mask made a moving conclusion.’
The World of Interiors, Colin Amery, May 1982.
“Piers Gough turned it (the Hayward) into a place of enchantment, suggesting in its design a feeling of the buildings of Lutyens, although not in anyway pastiche, or a precise copy”Interiors, May 1982