When was the Stirling Smith Art Gallery and Museum first opened?
Stirling Smith Art Gallery and Museum
The Stirling Smith Art Gallery and Museum – formerly The Smith Institute – has played a very special part in the history of Stirling since its foundation in 1874. Established by the bequest of artist Thomas Stuart Smith (1815–1869) on land supplied by the Burgh of Stirling, it is an historic public-private partnership which has continued to the present day. It was founded as a gallery of mainly contemporary art, with museum and library reading room ‘for the benefit of the inhabitants of Stirling, Dunblane and Kinbuck’.
James Stirling (architect)
In 1956 he and James Gowan left their positions as assistants with the firm of Lyons, Israel, and Ellis to set up a practice as Stirling and Gowan. Their first built project – the Langham House Close (1955–58) – was regarded as a landmark in the development of 'brutalist' residential architecture, although this was a description both architects rejected. Another result of Stirling & Gowan's collaboration is the Department of Engineering at the University of Leicester (1959–63), noted for its technological and geometric character, marked by the use of three-dimensional drawings based on axonometric projection seen either from above (in a bird's eye view) or below (in a worm's eye view). The project brought Stirling to a global audience.
In 1963, Stirling and Gowan separated; Stirling then set up on his own, taking with him the office assistant Michael Wilford (who later became a partner). Stirling then oversaw two prestigious projects: the History Faculty Library at the University of Cambridge and the Florey Building accommodation block for The Queen's College, Oxford. He also completed a training centre for Olivetti in Haslemere, Surrey and housing for the University of St Andrews both of which made prominent use of pre-fabricated elements, GRP for Olivetti and pre-cast concrete panels at St Andrews.
During the 1970s, Stirling's architectural language began to change as the scale of his projects moved from small (and not very profitable) to very large. His architecture became more overtly neoclassical, though it remained deeply imbued with modernism. This produced a wave of large-scale urban projects, most notably three museum projects for Düsseldorf, Cologne, and Stuttgart. Winning the design competition for the Neue Staatsgalerie, it came to be seen as an example of postmodernism, a label which stuck but which he himself rejected, and was considered by many to be his most important work.