Beginning in 1947, he developed a purely abstract style under the influence of Ben Nicholson and other artists associated with Circle, becoming a pioneering figure of the revival of interest in Constructivism in Britain following the War. Pasmore's abstract work, often in collage and construction of reliefs, pioneered the use of new materials and was sometimes on a large architectural scale. Herbert Read described Pasmore's new style as "The most revolutionary event in post-war British art".[4] In 1950, he was commissioned to design an abstract mural for a bus depot in Kingston upon Thames[5] and the following year Pasmore contributed a mural to the Festival of Britain that promoted a number of the British Constructivists. From 1954 to 1961 he was leader of the art course of Kings College, Durham based in Newcastle upon Tyne.[6] There he developed a general art and design course inspired by the 'basic course' of the Bauhaus that became the model for higher arts education across the UK. Pasmore was a supporter of fellow artist Richard Hamilton, giving him a teaching job in Newcastle and contributing a constructivist structure to the exhibition "This Is Tomorrow" in collaboration with Ernő Goldfinger and Helen Phillips. Pasmore was commissioned to make a mural for the new Newcastle Civic Centre. His interest in the synthesis of art and architecture was given free hand when he was appointed Consulting Director of Architectural Design for Peterlee development corporation in 1955. Pasmore's choices in this area proved controversial; the centerpiece of the town design became an abstract public art structure of his design, the Apollo Pavilion. The structure became the focus for local criticism over the failures of the Development Corporation but Pasmore remained a defender of his work, returning to the town to face critics of the Pavilion at a public meeting in 1982. Pasmore represented Britain at the 1961 Venice Biennale, was participating artist at the Documenta II 1959 in Kassel and was a trustee of the Tate Gallery, donating a number of works to the collection. He gave a lecture on J.M.W. Turner as 'first of the moderns' to the Turner Society, of which he was elected a vice president in 1975.