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A line of thoughtClare Nattress, Charlotte Barnes and Susanne Davies are 3rdyear Contemporary Fine Art Students from York St JohnUniversity. They held an event entitledA Line of ThoughtinYork Art Gallery on Wednesday 25th and Saturday 28thNovember 2009. This was in order to raise discussion on

what people think of Contemporary Art.A Line of Thoughtenabled the public to write their views on brown labels and then add these to the line. This gavethe public an opportunity to become part of an artwork, the artwork being the discussion whichwas raised from this question. The line was filled with a total of 105 labels; the majority of labelswere in favour of Contemporary Art however a handful of labels expressed their dislike for it.The three artists spoke to members of the public receiving very positive comments about thediscussion which was initiated by their workA Line of Thought. The artists want to take thisevent to other institutions in order to understand further what the viewer really thinks ofContemporary Art.

Beyond the GalleryThe architecture of the University of YorkMy first encounter with the extraordinary architectural idiosyncrasy, the University of York, wasone of great awe and intrigue. Designed by Robert Matthew Johnson-Marshall (opened in 1965)its one of the seven New or Plate-glass universities of the 1960s. Architecturally, York isprobably the most successful; without doubt its the most interesting. The architecture aimed toachieve equilibrium between social and pedagogical needs. Social cohesion was to be promotedand hierarchy avoided. To do this, it opted for a collegiate system, open plan interiors and thedispersal of teaching and residential accommodation. But most ingenious is the covered

pedestrian walkway that radiates around the whole site; here frequent social encounters betweenstaff and students from different disciplines are actively encouraged. The campus is an expressionof the English romantic landscape tradition where buildings and walkways are placedsporadically in an intimate sylvan setting. At the heart of the campus is the lake which acts as abalancing reservoir on a waterlogged site whilst also serving remarkable aesthetic dividends. Arich tree arboretum and diverse wild fowl population further enhance its beauty. Collectivelythe setting is one of unpretentious neutrality in which one feels relaxed and inspired.

The universitys first phase of development was the conservation and conversion by BernardFielden of the Elizabethan Mansion, Heslington Hall. Its age and nostalgic quality help the siteto establish a much-needed sense of place and longevity that would otherwise be lacking fromthe seemingly ephemeral 1960s structures. The limitations in building labour in the 1960s andthe need to build speedily without compromising good design led to the sensible decision to useCLASP, a modular system of precast concrete panels and lightweight steel, in most of thebuildings. Whereas the panels themselves are unexciting, pyramidal roof lights and diversewindow fenestration lend variety.

The splendid panoply of concrete murals by William Mitchell and Fred Millett are a welcomeoutburst of creativity that Nikolaus Pevsner aptly described as restless and incomprehensible.Functionally they conceal the steel bracing of the CLASP; aesthetically they serve both toeducate and inspire. Similarly, the campus is enlivened by original works of sculpture; the mostmemorable are the ambiguous aluminium figures by Yorkshire sculptor Austin Wright.

Two buildings stand out the library and the Central Hall. Here, a greater degree of architecturalliberation was allowed providing refreshing juxtaposition next to the CLASP units. The library

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is likened to a warehouse (a warehouse of knowledge?); its front facade has a simple mullionmotif where random enamel panels add animation. It is delicate and restrained in form.Cantilevered over the lake, the Central Halls unusual forms make for a breathtaking silhouetteon the evening sky and a curious reflection in the water. Its astronautic appearance hints at theUtopian spirit of the age, a time when the experimental journal Archigram (or ArchitectureTelegram) influenced the schools of architecture with their futuristic photo collages andtechnocratic designs. The Utopianism was reined in by the academic conservatism of the

universitys first vice chancellor, Lord James of Rusholme. A particularly charismatic figure ofthe English educational elite, his influence played no small part in helping the university ascertainquick success.

Seen in its best light, on a glowing summers day or illuminated at dusk, the campus isoverwhelming and to me creates an impulse resulting in sensation. In re-evaluating and

revolutionising what architecturecould be, the University of York is animportant exemplar of the planningethos of the 1960s. It brazenlyembodies a new post-war world,

exemplifying the avant-garde, theinnovative... and the original.

JOSHUA MARDELL, SAASY

University of York Campus,photograph by Jure Kirbss

VisitsThese past six months have seen a number of events enhanced by our developing relationshipwith the Art History Department of York University whose input is already exciting andinvaluable.

On a June evening this year agroup of some twenty Friendsenjoyed an informative walkthrough York University campus.Lead by Dr. Sarah Turner of theArt History Department, therewere many insights into thephilosophy behind the planning ofthe architecture, sculptures andgarden design of the university.

In August there was a very in-formative walk through Victorianand Edwardian Leeds guided byChris Furniss of Leeds Civic Trust.Whilst August also provided the

opportunity to see the amazingquilt work and hear from thedirector of the Quilt Museum,