Day two of the Auckland Writers Festival opened at the Auckland Art Gallery with collector Peter Alsop's infectious enthusiasm for early New Zealand advertising images. His illustrations showed lush colour and clean lines depicting luscious landscapes and butter pats..
As lead author on two coffee-table books on the subject, Promoting Prosperity and Selling the Dream, Alsop had a clear message: early 20th century commercial art was more visible and more cultural important than is usually appreciated. Plus, he said, quoting Hamish Keith, commercial art gave us "gave us modernism in our visual environment by stealth." Colin McCahon was the first to acknowledge the inspiration he received from commercial signwriting.
New Zealand led the world in various small advertising innovations: one of the first pictorial stamp series in the world included pictures of the pink and white terraces (12 years after the Tarawera eruption); and the Department of Tourism and Health Resorts (est. 1901) was the first such government department in the world.
Next up, UK architecture critic Jonathan Glancey charmed with his Hugh Grant smile but his views had a touch of the snob about them, more Daily Telegraph reader than Guardian writer. He was sniffy about everything from mud huts to sky scrapers to Frank Gehry, and intimated that the masses have made airports "wretched" (particularly those common people wearing "baseball caps and rucksacks").
He claimed that any well-designed school, scout hut, factory or office block could "make the soul soar" but, apart from Le Corbusier's Marseilles housing block and the Lloyds Bank building in his native City of London, most of his examples of good buildings were churches and art galleries - the easiest of all briefs for architects who aim for soul-soaring.