ERIC DE MARÉ: Photography framing architectureInterview

An interview with Dr. Andrew Higgott, former AA Photo Librarian by Bobby Jewell, AA Membership
28 May 2014 AA New Soft Room, 36 Bedford Square   Two weeks ago Dr Andrew Higgott, Architectural Historian, former AA Photo Librarian & AA Course Master, gave a lecture in the New Soft Room on Eric de Maré, a graduate of the AA from the 1930s who went on to become a prolific architectural photographer & writer. De Maré’s photography is characterised by its distinct use of framing and a focus on the proto-modernism of Industrial Britain.   De Maré’s archive is one of the principal collections of the AA Photo Library, and the lecture was the third talk in a series of collaborations between the AA Library, Photo Library and Archives following on from Manolis Stavrakakis’ Michael Ventris lecture in February and Catherine Burke discussing Mary Medd last year.   I spoke to Andrew Higgott about the career of de Maré, the influence of the AA and his disdain for modern life.   Your connection to Eric de Maré goes back a long way, as a writer yourself and as the former AA Photo Librarian, when did you first see his work and what attracted you to it? I think I’d seen some of his photographs and was aware of him while still at school - the Forth Bridge, the Ferrybridge Cooling Towers, for example - and knew his very popular Penguin book on photography. But I was asked to work on the exhibition and publication in 1990 as a result of a highly successful exhibition we in the Photo Library had done in 1987 on F R Yerbury, who was a great photographer and a very significant figure earlier in AA history. I didn’t immediately find de Maré’s work so appealing, but have learnt to love its subtleties in composition, its evocative power, and its subject matter often suffused with nostalgia.   In your lecture you mentioned that when de Maré studied at the AA in the 1920/30s it wasn’t the progressive place in architectural education that it is today. How do you think his time at the AA influenced him? When I interviewed him he was fairly negative about his AA experience but it clearly provided the basis for his whole future career, as a qualified architect but one working outside architectural practice. He said he wasn’t inspired by the teaching at the school, but did publish and exhibit his first photography while still a student. De Maré was introduced to versions of modern architecture, particularly the ‘soft’ modernisms of northern Europe while at the AA, and eventually found the more challenging ideas of Walter Gropius inspiring, although that was probably after he graduated.   A lot of de Maré’s photography documented Industrial Britain, often finding functionalist architecture that was unknowingly proto-modernist. With this focus was he attempting to go against the trends of his contemporaries? Yes, I think that’s true- and the more I get to understand him it’s clear that he saw himself as a lone figure going against the grain of the prevailing interests of others in architecture. He actively disliked almost all of the building that was done in Britain during the post war years. He started his documentation of anonymous structures with photographs of the buildings and artefacts of the canal system. They were published by the AR in 1949, though not commissioned by them, and were very well received and of course later published as a book, and this was the initial encouragement he had for his way of looking at anonymous functional structures.  There was a critical culture of architecture at the Architectural Review and Architectural Press at this time, led by the proprietor Harry de Cronin Hastings, who wanted to reclaim the Modern from the mediocrity of most postwar building - I’ve written about this in Chapter 4 of my book Mediating Modernism.
ERIC DE MARÉ: Photography framing architecture
Eric de Maré professed a love for nature, particularly in Scandinavia, which is quite an odd dichotomy given his work concerned the very unnatural infrastructures of industrialisation. You don’t seem to see the two as being so opposed, so how do you think he reconciled these interests? He had a very negative view of the modern world, which he saw as emerging from the dehumanising processes of the Industrial Revolution, alienating people from a more natural way of life. In particular he hated that people were dominated by the idea of work, working for money, which had become an utterly dominant instrument of social control. He was a lifetime supporter of the political philosophy of Social Credit, which gave him a platform for these ideas. When we see his work in this light it seems ironic that he often photographed modern buildings as commissions - for money - but, by contrast, with his self-directed work picturing urban and rural landscapes and buildings of the industrial past, he was trying to re-claim the modern world as a place for humanity. And it’s important to understand, although he tended to avoid the word, that he was attempting to see new forms of ‘beauty’, in things that were discarded, worn out, unnoticed- and this was a form of redemption, enriching people’s lives.   [caption id="attachment_3206" align="alignnone" width="360"]Stanley Mill, King Stanley, South Yorkshire Stanley Mill, King Stanley, Gloucestershire [/caption]
Eric de Maré was also a prolific writer. Where would you recommend people start with his writing? His own favourite book was one he did on London 1851 (Folio 1972), and he was also very proud of his book on the Canals of England (Architectural Press 1950). I would add Swedish Cross-Cut (Allhems 1964which gets to the heart of his understanding of Sweden. But the text of Photography and Architecture (Architectural Press 1961) is maybe the best insight into the way he saw the world, as well as how he saw photography.   [caption id="attachment_3207" align="alignnone" width="360"]Transporter Bridge, Newport, Monmouthshire Transporter Bridge, Newport, Monmouthshire[/caption]   For more information: Main Image credit: Valerie Bennett The Eric de Maré Member's Talk All titles by Eric de Maré are available from the AA Library. The AA Photo Library is selling a limited edition print of Eric de Maré’s 1954 photograph of the Newport Transporter Bridge, please see here fofurther details.   [caption id="attachment_3205" align="alignnone" width="360"]Heywood Canal, Staffordshire Heywood Canal Bridge, Staffordshire[/caption]