Ronald sims architect

There is a calm within the space — the carefully-angled and reassuringly robust concrete is complemented and softened by the wood that curves its way around the pulpit like wings opening, angelically spreading to embrace the worshippers.

It focusses your attention on the crucifix, but also highlights the energy rippling out from this sacred emblem. Architecturally-speaking, modern churches need to bring together a potentially large number of people, provide a calm and contemplative space, allow a minister a platform to be heard and seen, and remind people of the grace and power of God. The concrete is bold and geometric, the angles confident.

It is not a symphony of angles like the Clifton Cathedral — it is Steve Reichian, minimalist and measured, given space to breathe. The concrete is solid and structural — the supports at the back of the chapel are the foundations of belief: the wooden panels, the undulating leaps of faith.

This is a sophisticated modernist building with a surprising and imaginative use of materials. It is a celebration of raw materials and craft, spanning both concrete and timber. Like Denys Lasdun, Sims was an admirer and stickler for high-quality craftsmanship.

The wood elements feel distinctly Scandinavian, reminiscent of Finnish architect Alvar Aalto. The Broadmead Baptist chapel is full of original details. Amen to that. All photographs by Tom Spooner except where stated. The presence of East Anglian artists like John Nash, Edward Bawden, and Humphrey Spender, also contributed and shaped the beginning of Sims' very tonal, hard-edge style. The architectural space albeit as a pictorial illusion that he creates, is enhanced by his choice of acrylic paint; it allows for the continual overpainting and fine adjustments of line, shape, edge, and tonal colour.

The acrylic polychrome forms, which sometimes protrude forward of the picture plane, manipulate soft imagery into rigid block representations. These forms suggest that his architectural fantasies are, in contrast, constructed from the familiar building materials of steel, stone, or painted aluminium.

In Ron Sims' work, contraditions of surface and form, ambiguities of pictorial space, visual puns, literal associations, and historical cross referencing, allow "Mickey Mouse with Hands in Pockets" to sit quite naturally alongside "Multi-Storey Bird Auto Park".

There is a sophisticated visual language on show here, not just for painters and connoisseurs, but for architects too! Gloucester College of Art one year Teaching Fellowship. Cheltenham College of Art one-man. Portsmouth College of Education Collection. Reproduction in Connoisseur Magazine, and prize. Gainsborough's House, Sudbury one-man. Chelmsford and Essex Museum one-man.

Beecroft Art Gallery one-man. Reynolds Club, Royal Academy Schools invited mixed. Royal Academy Summer Show 2 paintings. Royal Academy Schools Student Alumni ex students committee member. Adult Lecturer at Braintree Community Centre part-time. Work collected in Austria, West Germany, U. Where enquiries of prices are made on the gallery, the work is subject to availability and the price to change.

Colchester School of Art 4 year course to N. Standardized form s of name according to other rules. Ronald Sims died in York in Related entity Pace, George Gaze, , architect Identifier of related entity. Related entity Church of England, Heslington, St. Paul, parish fl Identifier of related entity.

Related entity York Civic Trust Identifier of related entity. Michael, parish Identifier of related entity. Wilfrid of Ripon, parish fl 11th century- Identifier of related entity.

Related entity Church of England, York, St.