Geoscience Reference
In-Depth Information
Huxley's innovations. It was intended to be part of a complex to include a cinema
where scientific and zoological films could be shown to schoolchildren and visitors.
On his arrival at the Zoo, however, Huxley discovered considerable opposition to
Lubetkin and Tecton among Society members. In a lengthy memorandum (Huxley
1937a) in support of the architects, he quoted leading architectural commentators
by way of arguing for Tecton's suitability as architects for the Zoo. Huxley framed
the matter as an important one of principle. Embracing the innovations of
modernist style was essential because it signified a return to 'first principles' in
building. Lubetkin—'an excellent planner of animal accommodation' (Huxley
1937a: 5)—had gone back to these first principles in his studies of animal needs and
behaviour: '[H]e is always considering the health of the animals and their qualities
as objects to be exhibited to the public' (Huxley 1937a: 4). The innovations of
modernism then allowed those characteristics to be reflected in the designs. As
Huxley (1937a:1) put it:
Modern construction is…valuable in facilitating the use of many unusual
forms…. This is of particular importance in zoo architecture since the
exhibition of animals presents the architect with many new problems, which
can often be best solved by departing from conventional or traditional forms
(e.g. the Penguin Pool with its elliptical plan).
He believed that zoo culture as a whole could only gain from continued
collaboration with the architects:
[T]he Society will be earning the gratitude of later generations by giving a lead
in the matter of modern construction and by doing so will also play its part in
the field of zoo architecture enabling many new types of zoo building to be
constructed.
(Huxley 1937a:4)
Furthermore—and importantly for Huxley's notion of popular science—the
embracing of modernism marked the Zoo out as being a pioneering and accessible
institution. As he argued, 'in adopting some type of modern construction, the
Society is giving a valuable lead in the inevitable confusion of a transitional period,
and not merely indulging a passing whim of artistic fashion' (Huxley 1937a:1).
Huxley's advocacy of Lubetkin and Tecton was ultimately constrained by the
Society's Council. In 1937 Lubetkin and Huxley appeared in a television broadcast
to show the new plans for an Elephant House. This was a controversial project
based on a £10,000 donation from the Maharajah of Bhavnagar. Again, Huxley
solicited support from leading figures in the art, architectural and scientific worlds.
Kenneth Clark, the Director of the National Gallery, praised the building's concern
for the elephants' 'domestic economy' and noted how 'severe concentration' on this
and other factors 'has produced a powerful and dignified piece of architecture which
