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    More about the practice Aiton Scott by Walker

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    14 views8 pages

    Walker Aiton Scott

    Uploaded by

    shumispace319
    More about the practice Aiton Scott by Walker

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 8
    Ww The Forgotten Architecture of Vision: Aiton & Scott's Factory Office for Aiton & Co., Derby, 1930-1 LYNNE WALKER HE factory office of Aiton & Co. (1930-1) a Derby brings together what are Teczssttcrntmrn nine eo Britain: he Modern Movernentand the entry of women into the architectural profession. However, Aiton & Ca. isnot featured in conventional texts or histo res of twentieth century architecture, although, even in the terms of modernist historians, itis the earliest industrial building ofthe Modern Movement in Brit ain:a showcase forthe ‘new materials’, technically innovative carefully detailed and furnished with some of the most highly regarded srantgarde furniture of European modernism Why this important, handsome building is unknown to- day and how two young women in their twenties, Norah Aiton (1904-1989) and Betty Scott (1903-83), came to design such a building in the early days of the ‘Modern Movement in Britain, during the Great Depression, are questions that this article seeks toanswer.' [Norah Aiton and Berry Sort were par of the pioneer generation of women architects in the inter-war period who frstuained in architectural school, iden ‘ified with professionilism, joined the RIBA and set upon their ow in practice. Although women had played a variety of role in British architeerure before the ‘wentith cennury, they id not participate in the architectural profession in sub- sandal numbers uatiafter the First World War when the search forsuitable pro- {estions for women promoted by the Women’s Movement. combined withthe evelopment of systematic architectural training in schools of architestare ‘which were opened to women on the samme terms seme, ARCHITECTURE OF VISION 1 Lam ray eb Me nl Wood of ta Co-op much tne om fear rs dts at ae Wr Rage Beer ie Fests lp ith dosreatie L erect gran Me Moses Son antmcarofteewa mae Non Ao pope sna, 2 Sex oretmple m pup, Women sitet eo en tl? tu) 983. Fuse opps ‘Aon Factor Offices Nea ae fuer ‘Norah Alo (righ) and Betty Scom dei) 35 ‘TWENTIETH CENTURY ARCHITECTURE I faves ‘Aiton Factory Offices (Hebe Felon} 26 ‘ArGinton College, Norah Aiton gave up mathematics toartend the Cambridge School af Architecture (1924-6) and later the Architectural Association (i926 90 rhere she met her future parmer, Betty Scot, whose planning ability and ‘aphic skills made her star student (1923-8), winner ofthe Public School Ea trance Scholarship. the Second Year Prize foc An, and the Vicory Scholarship awarded by the RiBa.* While Continental modemism did notinform the sfllabunar the A until the mid-1930s, students from the early 920s were aware ofa broadly based mod «emism in architecture and the ars which included the Modern Movement, al though they were still being taught according ta Beaux-Arts principles and ‘methods. Berg Scou experienced theadranced technology of American building practice by working for three months in a large New York frm, Bottomley, ‘Wagner & White,” while Norah Aiton crossed the world (accompanied by her parents) with art and architecture central to her itinerary. Underlying Norah ‘Aiton's comments throughout the journal which she kept ducing the tip, and ‘germane tothe design of Aiton & Co, is the idea of modernity, Under the um- bella of the new’, her serious concern forant architecture and the condition of ‘women was accommodated with the more immediace pleasures of dancing, cocktails and movies, as well s tourist's delight in the excitement, danger and colour of urban stzeet life" ‘Norah Aiton feared that ravel would unsettle her, but within 2 few months of he getuen to England, she and Betty Scott had produced the design for Aiton & Co., their largest and most complete work. Like may young architects, Alto & Scott looked to their families For ther inital commissions. Befoce they left the AA, they had designed a simplified vernacular evival house at Stoke Poges for Betty Scon's parents.* Now itwas the Aitons' turn to provide patronage. How- ‘ver, John Arthat Aiton, later Six Arthur, was ne ordinary pazent

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