Engineering the Landscape – Capability Brown's Role
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This Place Has Capabilities a Lancelot 'Capability' Brown Teachers Pack
This Place has Capabilities A Lancelot ‘Capability’ Brown Teachers Pack Welcome to our teachers’ pack for the 2016 tercentenary of the birth of Lancelot ‘Capability’ Brown. Lancelot Brown was born in the small village of Kirkhale in Northumberland in 1716. His name is linked with more than 250 estates, throughout England and Wales, including Stowe in Buckinghamshire, Blenheim Palace (Oxfordshire) Dinefwr Park (Carmarthenshire) and, of course Chatsworth. His first visit to Chatsworth was thought to have been in 1758 and he worked on the landscape here for over 10 years, generally visiting about twice a year to discuss plans and peg out markers so that others could get on with creating his vision. It is thought that Lancelot Brown’s nickname came from his ability to assess a site for his clients, ‘this place has its capabilities’. He was famous for taking away traditional formal gardens and avenues to create ‘natural’ landscapes and believed that if people thought his landscapes were beautiful and natural then he had succeeded. 1 Education at Chatsworth A journey of discovery chatsworth.org Index Page Chatsworth Before Brown 3 Brown’s Chatsworth 6 Work in the Park 7 Eye-catchers 8 Work in the Garden and near the House 12 Back at School 14 Lancelot ‘Capability’ Brown 2 Education at Chatsworth A journey of discovery chatsworth.org Chatsworth before Brown The Chatsworth that Brown encountered looked something like this: Engraving of Chatsworth by Kip and Knyff published in Britannia Illustrata 1707 The gardens were very formal and organised, both to the front and back of the house. -
The American Lawn: Culture, Nature, Design and Sustainability
THE AMERICAN LAWN: CULTURE, NATURE, DESIGN AND SUSTAINABILITY _______________________________________________________________________________ A Thesis Presented to the Graduate School of Clemson University _______________________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Landscape Architecture _______________________________________________________________________________ by Maria Decker Ghys May 2013 _______________________________________________________________________________ Accepted by: Dr. Matthew Powers, Committee Chair Dr. Ellen A. Vincent, Committee Co-Chair Professor Dan Ford Professor David Pearson ABSTRACT This was an exploratory study examining the processes and underlying concepts of design nature, and culture necessary to discussing sustainable design solutions for the American lawn. A review of the literature identifies historical perceptions of the lawn and contemporary research that links lawns to sustainability. Research data was collected by conducting personal interviews with green industry professionals and administering a survey instrument to administrators and residents of planned urban development communi- ties. Recommended guidelines for the sustainable American lawn are identified and include native plant usage to increase habitat and biodiversity, permeable paving and ground cover as an alternative to lawn and hierarchical maintenance zones depending on levels of importance or use. These design recommendations form a foundation -
Architectural Digest May Earn a Portion of Sales from Products That Are Purchased Through Our Site As Part of Our Affiliate Partnerships with Retailers
The Grecian Valley at Stowe, Buckinghamshire (showing the Temple of Victory and Concorde), this year's beneficiary of the Royal Oak Foundation's gala dinner. Photo: Andrew Butler, courtesy of the National Trust THE REPORT The Royal Oak Foundation Looks to Stowe's 1730s Temple of Modern Virtue as its Latest Beneficiary The William Kent structure will benefit from the proceeds of the organization's annual Timeless Design Dinner By Mitchell Owens October 16, 2018 Stowe, the English country estate that shares its land with an elite boarding school, is a name that galvanizes attention in the architecture world. The sprawling Buckinghamshire destination, administered by the National Trust, astounds with the richness and variety of a property that was augmented, enriched, and, indeed, reshaped by an all-star 18th- century cast hired by the aristocratic Temple family: Charles Bridgeman, Sir John Vanbrugh, James Gibbs, William Kent, John Michael Rysbrack, and Lancelot “Capability” Brown, who was then just starting out on a career that would result in England’s transformation from stiff formal gardens to rolling landscapes that look utterly natural—but actually aren’t. “There’s so much going on at Stowe,” says David Nathans, the president of the Royal Oak Foundation, the energetic American fundraising arm of the National Trust. By that he means not only plants, trees, lakes, and the earthly like but scores of monuments, follies, temples, bridges, and other architectural delights that the public can see 365 days a year. Among them is what’s left of the 1730s Temple of Modern Virtue, a William Kent limestone frivolity that was built as a fool-the-eye ruin—it was intended as sarcastic commentary on Sir Robert Walpole, the avaricious British prime minister, who is depicted as a headless torso—but which has become, literally, tumble-down. -
The Gibbs Range of Classical Porches • the Gibbs Range of Classical Porches •
THE GIBBS RANGE OF CLASSICAL PORCHES • THE GIBBS RANGE OF CLASSICAL PORCHES • Andrew Smith – Senior Buyer C G Fry & Son Ltd. HADDONSTONE is a well-known reputable company and C G Fry & Son, award- winning house builder, has used their cast stone architectural detailing at a number of our South West developments over the last ten years. We erected the GIBBS Classical Porch at Tregunnel Hill in Newquay and use HADDONSTONE because of the consistency, product, price and service. Calder Loth, Senior Architectural Historian, Virginia Department of Historic Resources, USA As an advocate of architectural literacy, it is gratifying to have Haddonstone’s informative brochure defining the basic components of literate classical porches. Hugh Petter’s cogent illustrations and analysis of the porches’ proportional systems make a complex subject easily grasped. A porch celebrates an entrance; it should be well mannered. James Gibbs’s versions of the classical orders are the appropriate choice. They are subtlety beautiful, quintessentially English, and fitting for America. Jeremy Musson, English author, editor and presenter Haddonstone’s new Gibbs range is the result of an imaginative collaboration with architect Hugh Petter and draws on the elegant models provided by James Gibbs, one of the most enterprising design heroes of the Georgian age. The result is a series of Doric and Ionic porches with a subtle variety of treatments which can be carefully adapted to bring elegance and dignity to houses old and new. www.haddonstone.com www.adamarchitecture.com 2 • THE GIBBS RANGE OF CLASSICAL PORCHES • Introduction The GIBBS Range of Classical Porches is designed The GIBBS Range is conceived around the two by Hugh Petter, Director of ADAM Architecture oldest and most widely used Orders - the Doric and and inspired by the Georgian architect James Ionic. -
Introduction-Translation-As-Art-History.Pdf
SUGATA RAY INTRODUCTION Translation as Art History In September 2016, more than two thousand scholars from forty- three countries gathered at the Comité International d’Histoire de l’Art’s Thirty- fourth World Congress of Art History in Beijing to collectively consider the terms that shape art history’s disciplinary contours in dispersed parts of the globe.1 The concern could not have been more pressing. As the call to decolonize the museum and the university gains momentum, the need to revisit the lan- guage of art history—terminologies, schemas, vocabularies, and so on— also accrues urgency, for lexica and terminologies frame the boundaries of what can and what cannot be called art history. Terms, as Raymond Williams reminds us, institutionalize knowledge through the manipulation of signification within language.2 Indeed, by now, we are all too cognizant of the threads that link the disciplinary structures of modern art history with both the project of the European Enlightenment and the epistemic violence of colonialism. The eighteenth- and nineteenth- century roots of the discipline, scholars have noted, lay in the “colonization of the world’s cultures” through a “totalizing notion of art.”3 More recently, in the wake of the Occupy movement, activists and community groups also have engaged with the colonial legacy of art history’s disciplinary paradigms. Consider, for instance, the demand to set up a Decolonization Commission at the Brooklyn Museum. That this call to decolonize the museum evokes a scene from the 2018 film Black Panther -
Palladio's Influence in America
Palladio’s Influence In America Calder Loth, Senior Architectural Historian, Virginia Department of Historic Resources 2008 marks the 500th anniversary of Palladio’s birth. We might ask why Americans should consider this to be a cause for celebration. Why should we be concerned about an Italian architect who lived so long ago and far away? As we shall see, however, this architect, whom the average American has never heard of, has had a profound impact on the architectural image of our country, even the city of Baltimore. But before we investigate his influence we should briefly explain what Palladio’s career involved. Palladio, of course, designed many outstanding buildings, but until the twentieth century few Americans ever saw any of Palladio’s works firsthand. From our standpoint, Palladio’s most important achievement was writing about architecture. His seminal publication, I Quattro Libri dell’ Architettura or The Four Books on Architecture, was perhaps the most influential treatise on architecture ever written. Much of the material in that work was the result of Palladio’s extensive study of the ruins of ancient Roman buildings. This effort was part of the Italian Renaissance movement: the rediscovery of the civilization of ancient Rome—its arts, literature, science, and architecture. Palladio was by no means the only architect of his time to undertake such a study and produce a publication about it. Nevertheless, Palladio’s drawings and text were far more engaging, comprehendible, informative, and useful than similar efforts by contemporaries. As with most Renaissance-period architectural treatises, Palladio illustrated and described how to delineate and construct the five orders—the five principal types of ancient columns and their entablatures. -
Rare Books Special List for New York Antiquarian Book Fair April 11 – 14, 2013
Priscilla Juvelis – Rare Books Special List for New York Antiquarian Book Fair April 11 – 14, 2013 Architecture & Photography 1. Bickham, George. The beauties of Stow: or a description of pages a bit age toned at top edge but no the pleasant seat and noble gardens of the Right Honourable Lord spotting or foxing and the images clean Viscount Cobham. With above Thirty Designs, or drawings, and beautiful on vellum paper, a quite engraved on Copper-Plates, of each particular Building. London: collectable copy of a key book in early photography. E. Owen for George Bickham, M.DCC.L [1750]. $5,500 P. H. Emerson (1856-1936), born First edition complete with all 30 copperplate engravings of the gardens in Cuba to an American father and at Stow[e]. Page size: 3-7/8 x 6-½ inches; 67pp. + 3 pp. ads for other books British mother, earned a medical de- printed for George Bickham. Bound: brown calf with paneled spine, gree at Clare College, Cambridge. A lacking label on second panel, double gilt rule along all edges of front and keen ornithologist, he bought his first back panel, early ownership signatures on front pastedown, front cover camera to be used as a tool on bird- detached, pages a bit sunned and brittle but no foxing watching trips. He was involved in the at all, leaf F3 with ½ inch tear at fore edge, housed in formation of the Camera Club of Lon- marbled paper over boards slipcase with title printed don and soon after abandoned his ca- on brown leather label (probably originally on spine). -
English-Palladianism.Pdf
702132/702835 European Architecture B Palladianism COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice THETHE TRUMPETTRUMPET CALLCALL OFOF AUTHORITYAUTHORITY St George, Bloomsbury, London, by Hawksmoor, 1716- 27: portico Miles Lewis St Mary-le-Strand, London, by James Gibbs, 1714-17: in a view of the Strand Summerson, Architecture in Britain, pl 171A. In those admirable Pieces of Antiquity, we find none of the trifling, licentious, and insignificant Ornaments, so much affected by some of our Moderns .... nor have we one Precedent, either from the Greeks or the Romans, that they practised two Orders, one above another, in the same Temple in the Outside .... and whereas the Ancients were contented with one continued Pediment .... we now have no less than three in one Side, where the Ancients never admitted any. This practice must be imputed either to an entire Ignorance of Antiquity, or a Vanity to expose their absurd Novelties ... Colen Campbell, 'Design for a Church, of St Mary-le-Strand from the south-east my Invention' (1717) Miles Lewis thethe EnglishEnglish BaroqueBaroque vv thethe PalladianPalladian RevivalRevival Christopher Wren Colen Campbell -
'Capability' Brown
‘Capability’ Brown & The Landscapes of Middle England Introduction (Room ) Lancelot ‘Capability’ Brown was born in in the Northumbrian hamlet of Kirkharle to a family of yeoman-farmers. The local landowner, Sir William Loraine, granted him his first gardening job at Kirkharle Hall in . Demonstrating his enduring capacity for attracting aristocratic patrons, by the time he was twenty-five Viscount Cobham had promoted him to the position of Head Gardener at Stowe. Brown then secured a number of lucrative commissions in the Midlands: Newnham Paddox, Great Packington, Charlecote Park (Room ) and Warwick Castle in Warwickshire, Croome Court in Worcestershire (Room ), Weston Park in Staffordshire (Room ) and Castle Ashby in Northamptonshire. The English landscape designer Humphry Repton later commented that this rapid success was attributable to a ‘natural quickness of perception and his habitual correctness of observation’. On November Brown married Bridget Wayet. They had a daughter and three sons: Bridget, Lancelot, William and John. And in Brown set himself up as architect and landscape consultant in Hammersmith, west of London, beginning a relentlessly demanding career that would span thirty years and encompass over estates. In , coinciding directly with his newly elevated position of Royal Gardener to George , Brown embarked on several illustrious commissions, including Blenheim Palace, Oxfordshire, and Luton Hoo in Bedfordshire. He then took on as business partner the successful builder-architect Henry Holland the Younger. Two years later, in , Holland married Brown’s daughter Bridget, thus cementing the relationship between the two families. John Keyse Sherwin, after Nathaniel Dance, Lancelot Brown (Prof Tim Mowl) As the fashion for landscapes designed in ‘the Park way’ increased in of under-gardeners. -
Orleans House: a History
Orleans Book 1/9/08 9:38 am Page 1 Unknown maker after A. Heckel, Orleans House Twickenham, embroidery on silk Orleans Book 1/9/08 9:38 am Page 2 Auguste Garverry, Orleans House, c.1815, watercolour 2 Orleans Book 1/9/08 9:38 am Page 3 Unknown artist, Orleans House, c. 1845, watercolour 3 Orleans Book 1/9/08 9:38 am Page 4 Johan Dietzsch Orleans House c. 1750 watercolour 4 Orleans Book 1/9/08 9:39 am Page 5 Orleans House: A History linked to the trade through careers in the Royal Navy and the East India Company, and black servants This is the story of the riverside property in recorded at the house may well have arrived here Twickenham, which came to be known as Orleans through the trade diaspora. House, and the people who lived in, worked in and visited it. The story of the house has been written Rather than creating a catalogue of the 2007 exhibition, before, and this book is greatly indebted to previous we wanted to ensure that these findings became a publications, especially The History of Orleans House, permanent part of the story we tell about our site – that Twickenham compiled by Patricia Astley Cooper in this understanding of our place in a global story was 1984. The decision to create a new history came out of not lost in the aftermath of the bicentenary. The a realisation that, 24 years later, we are in a position to Parallel Views research forms one strand in this book; tell more and varied stories about our buildings and others include a renewed focus upon the architecture, site, and the individuals and trends which shaped them. -
'James Gibbs's Autobiography Revisited'
William Aslet, ‘James Gibbs’s autobiography revisited’, The Georgian Group Journal, Vol. XXV, 2017, pp. 113–130 TEXT © THE AUTHORS 2017 JAMES GIBBS’S AUtobiographY REVISITED WILLIAM ASLET ames Gibbs (1682–1754) was one of the most claim that the manuscript comprises ‘Memorandums Jimportant architectural figures in eighteenth- for his own use’ has been taken at face value. After an century England. Taught by Carlo Fontana, the most outline of his biography, I will begin by arguing that fashionable Roman architect of his day, Gibbs ‘had Gibbs intended to publish the manuscript, having a professional training at the fountain-head of Italian composed it during his final years. Following this, baroque that was unique among contemporary I will place the manuscript in the literary context of architects’.1 He was the architect of the London mid eighteenth-century England, contending that churches of St. Mary-le-Strand and St. Martin- it was composed as a piece of travel writing. I will in-the-Fields; the Senate House, Cambridge, and conclude that it was in this manuscript that Gibbs the Radcliffe Library, Oxford; houses that include hoped to preserve his legacy. From this, Gibbs will Sudbrook, Surrey, and Ditchley, Oxfordshire; and emerge as an architect who sought to immortalise was the author of two highly influential books,A himself through books as much as through buildings. Book of Architecture and Rules for Drawing the Several Parts of Architecture. Critical assessment of Gibbs is, however, complicated by the fact that our knowledge of his biography is largely limited AUTHORSHIP AND DATING to a single document currently in Sir John Soane’s The Gibbs manuscript comprises 162 pages (81 Museum, London, henceforth referred to as the folios) and is of a quarto size, bound in leather. -
Cavendish Square
DRAFT CHAPTER 7 Cavendish Square Peering over the railings and through the black trees into the garden of the Square, you see a few miserable governesses with wan-faced pupils wandering round and round it, and round the dreary grass-plot in the centre of which rises the statue of Lord Gaunt, who fought at Minden, in a three- tailed wig, and otherwise habited like a Roman Emperor. Gaunt House occupies nearly a side of the Square. The remaining three sides are composed of mansions that have passed away into dowagerism; – tall, dark houses, with window-frames of stone, or picked out of a lighter red. Little light seems to be behind those lean, comfortless casements now: and hospitality to have passed away from those doors as much as the laced lacqueys and link-boys of old times, who used to put out their torches in the blank iron extinguishers that still flank the lamps over the steps. Brass plates have penetrated into the square – Doctors, the Diddlesex Bank Western Branch – the English and European Reunion, &c. – it has a dreary look. Thackeray made little attempt to disguise Cavendish Square in Vanity Fair (1847–8). Dreariness could not be further from what had been intended by those who, more than a century earlier, had conceived the square as an enclave of private palaces and patrician grandeur. Nor, another century and more after Thackeray, is it likely to come to mind in what, braced between department stores and doctors’ consulting rooms, has become an oasis of smart offices, sleek subterranean parking and occasional lunch-hour sunbathing.