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An Examination of the Potential Influence of Karl Friedrich Schinkel on the Work of Alexander 'Greek' Thomson
An Examination of the Potential Influence of Karl Friedrich Schinkel on the Work of Alexander 'Greek' Thomson A Thesis submitted by: Andre Weiss B. A. 1998 Supervisor: Dr. Gavin Stamp Submitted in fulfilment of the requirements for the Master of Architecture Mackintosh School of Architecture, The University of Glasgow September 1999 ProQuest N um ber: 13833922 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13833922 Published by ProQuest LLC(2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 Contents List of Illustrations ...................................................................................................... 3 Introduction .................................................................................................................9 1. The Previous Claims of an InfluentialRelationship ............................................18 2. An Exploration of the Individual Backgrounds of Thomson and Schinkel .............................................................................................................38 -
Wren and the English Baroque
What is English Baroque? • An architectural style promoted by Christopher Wren (1632-1723) that developed between the Great Fire (1666) and the Treaty of Utrecht (1713). It is associated with the new freedom of the Restoration following the Cromwell’s puritan restrictions and the Great Fire of London provided a blank canvas for architects. In France the repeal of the Edict of Nantes in 1685 revived religious conflict and caused many French Huguenot craftsmen to move to England. • In total Wren built 52 churches in London of which his most famous is St Paul’s Cathedral (1675-1711). Wren met Gian Lorenzo Bernini (1598-1680) in Paris in August 1665 and Wren’s later designs tempered the exuberant articulation of Bernini’s and Francesco Borromini’s (1599-1667) architecture in Italy with the sober, strict classical architecture of Inigo Jones. • The first truly Baroque English country house was Chatsworth, started in 1687 and designed by William Talman. • The culmination of English Baroque came with Sir John Vanbrugh (1664-1726) and Nicholas Hawksmoor (1661-1736), Castle Howard (1699, flamboyant assemble of restless masses), Blenheim Palace (1705, vast belvederes of massed stone with curious finials), and Appuldurcombe House, Isle of Wight (now in ruins). Vanburgh’s final work was Seaton Delaval Hall (1718, unique in its structural audacity). Vanburgh was a Restoration playwright and the English Baroque is a theatrical creation. In the early 18th century the English Baroque went out of fashion. It was associated with Toryism, the Continent and Popery by the dominant Protestant Whig aristocracy. The Whig Thomas Watson-Wentworth, 1st Marquess of Rockingham, built a Baroque house in the 1720s but criticism resulted in the huge new Palladian building, Wentworth Woodhouse, we see today. -
University College London: Library DDA Works PPG15 Justification
DRAFT UNIVERSITY COLLEGE LONDON LIBRARY DDA WORKS PPG15 JUSTIFICATION Prepared for UNIVERSITY COLLEGE LONDON ALAN BAXTER & ASSOCIATES MAY 2004 DRAFT CONTENTS CONTENTS 1. Introduction...................................................... 2 2. History of the Wilkins building .......................... 3 3. The Wilkins building today .............................. 10 4. Significance.................................................... 12 5. Impact of proposals ........................................ 15 6. Conclusion ..................................................... 17 Prepared by: William Filmer-Sankey and Lucy Markham Reviewed by: [name] Revised: [date] This report may not be issued to third parties without the prior permission of Alan Baxter & Associates © Alan Baxter & Associates 2004 ALAN BAXTER & ASSOCIATES UCL CONSERVATION STRATEGY REPORT AND PPG 15 JUSTIFICATION • MAY 2004 1 DRAFT 1. INTRODUCTION 1. INTRODUCTION This report has been prepared for the Estates and Facilities Division of University College London (UCL). UCL needs to make alterations to the Wilkins building to improve access to the library (on its upper floors) by the end of the year in order to comply with the terms of the Disability Discrimination Act (DDA). In December 2003 Alan Baxter & Associates produced draft Management Guidelines for UCL which identified what is significant about the UCL buildings and to help streamline the process of gaining future listed building consents. This report is based on these Management Guidelines but includes information from the recent opening-up works. The Wilkins Building is Grade I listed. The new access proposals involve removing a staircase, one of which was inserted by TL Donaldson in 1849-51, and installing a lift (along with a new staircase) to provide access for the mobility impaired to the library. This report has been written to accompany an application for listed building consent, and to demonstrate that the alterations are required by the DDA, and are justifiable in terms of the criteria set out in PPG15. -
Queen's House Conference 2017 European Court Culture
Queen’s House Conference 2017 European Court Culture & Greenwich Palace, 1500-1750 RCIN405291, Royal Collection Trust/© Her Majesty Queen Elizabeth II, 2017 Thursday to Saturday, 20-22 April 2017 Location: National Maritime Museum and the Queen’s House, Greenwich Conference organisers: Janet Dickinson (University of Oxford), Christine Riding (Royal Museums Greenwich) and Jonathan Spangler (Manchester Metropolitan University). With support from the Society for Court Studies. For queries about the programme, please: [email protected] For bookings: call 020 8312 6716 or e-mail [email protected] Booking form: http://www.rmg.co.uk/see-do/exhibitions-events/queens-house- conference-2017 Thursday, 20 April 12.30–13.00 Registration 13.00–15.00 Introduction, conference organisers Jemma Field, Brunel University: Greenwich Palace and Anna of Denmark: Royal Precedence, Royal Rituals, and Political Ambition Karen Hearn, University College London): “‘The Queenes Picture therein’: Henrietta Maria amid architectural magnificence” Anna Whitelock, Royal Holloway, University of London: Title to be confirmed 15.00–15.30 Coffee and tea 15.30 17.00 Christine Riding, Royal Museums Greenwich: Private Patronage, Public Display: The Armada Portraits and Tapestries, and Representations of Queenship Natalie Mears, Durham University: Tapestries and paintings of the Spanish Armada: Culture and Horticulture in Elizabethan and Jacobean England Charlotte Bolland, National Portrait Gallery: The Armada Portrait of Elizabeth I 17.00–18.00 Keynote lecture Simon Thurley, Institute of Historical Research, London: Defining Tudor Greenwich: landscape, religion and industry 1 18.00–19.00 Wine reception in the Queen’s House, followed by dinner at restaurant in Greenwich, at own expense. -
Download the Annual Report And
SIR JOHN SOANE'S MUSEUM Registered Charity No. 313609 THE ANNUAL REPORT AND ACCOUNTS FOR THE YEAR 1 APRIL 2013 TO 31 MARCH 2014 HC 359 SIR JOHN SOANE'S MUSEUM Registered Charity No. 313609 THE ANNUAL REPORT AND ACCOUNTS FOR THE YEAR 1 APRIL 2013 TO 31 MARCH 2014 PRESENTED TO PARLIAMENT PURSUANT TO ARTICLE 3(3) OF THE GOVERNMENT RESOURCES AND ACCOUNTS ACT 2000 (AUDIT OF PUBLIC BODIES) ORDER 2003 (SI 2003/1326) ORDERED BY THE HOUSE OF COMMONS TO BE PRINTED 15 JULY 2014 HC 359 © Sir John Soane’s Museum (2014) The text of this document (this excludes, where present, the Royal Arms and all departmental and agency logos) may be reproduced free of charge in any format or medium providing that it is reproduced accurately and not in a misleading context The material must be acknowledged as Sir John Soane’s Museum copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. Any enquiries regarding this publication should be sent to us at [email protected] This publication is available at https://www.gov.uk/government/publications Print ISBN 9781474109130 Web ISBN 9781474109147 Printed in the UK by the Williams Lea Group on behalf of the Controller of Her Majesty’s Stationery Office ID 07071401 07/14 41865 19585 Printed on paper containing 75% recycled fibre content minimum TRUSTEES OF SIR JOHN SOANE'S MUSEUM (AS AT 31 MARCH 2014) Guy Elliott (Chairman) Alderman Alison Gowman (Deputy Chairman) Molly Lowell Borthwick Bridget Cherry, OBE, FSA, Hon. -
Masterworks Architecture at the Masterworks: Royal Academy of Arts Neil Bingham
Masterworks Architecture at the Masterworks: Royal Academy of Arts Neil Bingham Royal Academy of Arts 2 Contents President’s Foreword 000 Edward Middleton Barry ra (1869) 000 Sir Howard Robertson ra (1958) 000 Paul Koralek ra (1991) 000 Preface 000 George Edmund Street ra (1871) 000 Sir Basil Spence ra (1960) 000 Sir Colin St John Wilson ra (1991) 000 Acknowledgements 000 R. Norman Shaw ra (1877) 000 Donald McMorran ra (1962) 000 Sir James Stirling ra (1991) 000 John Loughborough Pearson ra (1880) 000 Marshall Sisson ra (1963) 000 Sir Michael Hopkins ra (1992) 000 Architecture at the Royal Academy of Arts 000 Alfred Waterhouse ra (1885) 000 Raymond Erith ra (1964) 000 Sir Richard MacCormac ra (1993) 000 Sir Thomas Graham Jackson Bt ra (1896) 000 William Holford ra, Baron Holford Sir Nicholas Grimshaw pra (1994) 000 The Architect Royal Academicians and George Aitchison ra (1898) 000 of Kemp Town (1968) 000 Michael Manser ra (1994) 000 Their Diploma Works 000 George Frederick Bodley ra (1902) 000 Sir Frederick Gibberd ra (1969) 000 Eva M. Jiricna ra (1997) 000 Sir William Chambers ra (1768, Foundation Sir Aston Webb ra (1903) 000 Sir Hugh Casson pra (1970) 000 Ian Ritchie ra (1998) 000 Member, artist’s presentation) 000 John Belcher ra (1909) 000 E. Maxwell Fry ra (1972) 000 Will Alsop ra (2000) 000 George Dance ra (1768, Foundation Member, Sir Richard Sheppard ra (1972) 000 Gordon Benson ra (2000) 000 no Diploma Work) 000 Sir Reginald Blomfield ra (1914) 000 H. T. Cadbury-Brown ra (1975) 000 Piers Gough ra (2001) 000 John Gwynn ra (1768, Foundation Member, Sir Ernest George ra (1917) 000 no Diploma Work) 000 Ernest Newton ra (1919) 000 Ernö Goldfinger ra (1975) 000 Sir Peter Cook ra (2003) 000 Thomas Sandby ra (1768, Foundation Member, Sir Edwin Lutyens pra (1920) 000 Sir Philip Powell ra (1977) 000 Zaha Hadid ra (2005) 000 bequest from great-grandson) 000 Sir Giles Gilbert Scott ra (1922) 000 Peter Chamberlin ra (1978) 000 Eric Parry ra (2006) 000 William Tyler ra (1768, Foundation Member, Sir John J. -
Section II: Summary of the Periodic Report on the State of Conservation, 2006
State of Conservation of World Heritage Properties in Europe SECTION II workmanship, and setting is well documented. UNITED KINGDOM There are firm legislative and policy controls in place to ensure that its fabric and character and Maritime Greenwich setting will be preserved in the future. b) The Queen’s House by Inigo Jones and plans for Brief description the Royal Naval College and key buildings by Sir Christopher Wren as masterpieces of creative The ensemble of buildings at Greenwich, an genius (Criterion i) outlying district of London, and the park in which they are set, symbolize English artistic and Inigo Jones and Sir Christopher Wren are scientific endeavour in the 17th and 18th centuries. acknowledged to be among the greatest The Queen's House (by Inigo Jones) was the first architectural talents of the Renaissance and Palladian building in England, while the complex Baroque periods in Europe. Their buildings at that was until recently the Royal Naval College was Greenwich represent high points in their individual designed by Christopher Wren. The park, laid out architectural oeuvres and, taken as an ensemble, on the basis of an original design by André Le the Queen’s House and Royal Naval College Nôtre, contains the Old Royal Observatory, the complex is widely recognised as Britain’s work of Wren and the scientist Robert Hooke. outstanding Baroque set piece. Inigo Jones was one of the first and the most skilled 1. Introduction proponents of the new classical architectural style in England. On his return to England after having Year(s) of Inscription 1997 travelled extensively in Italy in 1613-14 he was appointed by Anne, consort of James I, to provide a Agency responsible for site management new building at Greenwich. -
Neoclassical Architecture 1 Neoclassical Architecture
Neoclassical architecture 1 Neoclassical architecture Neoclassical architecture was an architectural style produced by the neoclassical movement that began in the mid-18th century, both as a reaction against the Rococo style of anti-tectonic naturalistic ornament, and an outgrowth of some classicizing features of Late Baroque. In its purest form it is a style principally derived from the architecture of Classical Greece and the architecture of Italian Andrea Palladio. The Cathedral of Vilnius (1783), by Laurynas Gucevičius Origins Siegfried Giedion, whose first book (1922) had the suggestive title Late Baroque and Romantic Classicism, asserted later[1] "The Louis XVI style formed in shape and structure the end of late baroque tendencies, with classicism serving as its framework." In the sense that neoclassicism in architecture is evocative and picturesque, a recreation of a distant, lost world, it is, as Giedion suggests, framed within the Romantic sensibility. Intellectually Neoclassicism was symptomatic of a desire to return to the perceived "purity" of the arts of Rome, the more vague perception ("ideal") of Ancient Greek arts and, to a lesser extent, sixteenth-century Renaissance Classicism, the source for academic Late Baroque. Many neoclassical architects were influenced by the drawings and projects of Étienne-Louis Boullée and Claude Nicolas Ledoux. The many graphite drawings of Boullée and his students depict architecture that emulates the eternality of the universe. There are links between Boullée's ideas and Edmund Burke's conception of the sublime. Pulteney Bridge, Bath, England, by Robert Adam Ledoux addressed the concept of architectural character, maintaining that a building should immediately communicate its function to the viewer. -
Agreg, Anglais Oral
The Royal Academy of Arts Source: http://en.wikipedia.org/wiki/Royal_Academy The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly, London, England. The Royal Academy of Arts has a unique position in being an independent, privately funded institution led by eminent artists and architects whose purpose is to promote the creation, enjoyment and appreciation of the visual arts through exhibitions, education and debate. History The Royal Academy of Arts was founded through a personal act of King George III on 10th December 1768 with a mission to promote the arts of design through education and exhibition. The motive in founding the Academy was twofold: to raise the professional status of the artist by establishing a sound system of training and expert judgment in the arts and to arrange the exhibition of contemporary works of art attaining an appropriate standard of excellence. Behind this concept was the desire to foster a national school of art and to encourage appreciation and interest in the public based on recognised canons of good taste. Fashionable taste in 18th century Britain centered on continental and traditional art forms providing contemporary artists little opportunity to sell their works. From 1746 the Foundling Hospital, through the efforts of William Hogarth, provided an early venue for contemporary artists to show their work in Britain. The success of this venture led to the formation of the Society of Artists and the Free Society of Artists. Both these groups were primarily exhibiting societies and their initial success was marred by internal fractions amongst the artists. -
Shakespeare, Jonson, and the Invention of the Author
11 Donaldson 1573 11/10/07 15:05 Page 319 SHAKESPEARE LECTURE Shakespeare, Jonson, and the Invention of the Author IAN DONALDSON Fellow of the Academy THE LIVES AND CAREERS OF SHAKESPEARE and Ben Jonson, the two supreme writers of early modern England, were intricately and curiously interwoven. Eight years Shakespeare’s junior, Jonson emerged in the late 1590s as a writer of remarkable gifts, and Shakespeare’s greatest theatri- cal rival since the death of Christopher Marlowe. Shakespeare played a leading role in the comedy that first brought Jonson to public promi- nence, Every Man In His Humour, having earlier decisively intervened— so his eighteenth-century editor, Nicholas Rowe, relates—to ensure that the play was performed by the Lord Chamberlain’s Men, who had ini- tially rejected the manuscript.1 Shakespeare’s name appears alongside that of Richard Burbage in the list of ‘principal tragedians’ from the same company who performed in Jonson’s Sejanus in 1603, and it has been con- jectured that he and Jonson may even have written this play together.2 During the years of their maturity, the two men continued to observe Read at the Academy 25 April 2006. 1 The Works of Mr William Shakespeare, ed. Nicholas Rowe, 6 vols. (London, printed for Jacob Tonson, 1709), I, pp. xii–xiii. On the reliability of Rowe’s testimony, see Samuel Schoenbaum, Shakespeare’s Lives (Oxford, 1970), pp. 19–35. 2 The list is appended to the folio text of the play, published in 1616. For the suggestion that Shakespeare worked with Jonson on the composition of Sejanus, see Anne Barton, Ben Jonson: Dramatist (Cambridge, 1984), pp. -
Wren St Paul's Cathedral CO Edit
Sir Christopher Wren (1632-1723) St. Paul’s Cathedral (1673-1711) Architect: Sir Christopher Wren (1632-1723) Nationality: British Work: St. Paul’s Cathedral Date: 1673–1711. First church founded on this site in 604, medieval church re-built after Great Fire of London, 1666. Style: Classical English Baroque Size: Nave 158 x 37m, dome 85m high Materials: Portland stone, brick inner dome and cone, iron chains, timber framed outer dome, lead roof, glass windows, marble floors, wooden screens Construction: Arcuated: classical semi-circular arches; loadbearing walls and piers; ‘gothic’ pointed inner cone, flying buttresses Location: Ludgate Hill highest point of City of London Patron: Church of England Scope of work: Identities specified architect pre-1850 ART HISTORICAL TERMS AND CONCEPTS Function • Dedicated to St Paul, ancient Catholic foundation, now Anglican church under Bishop of London holding religious services with liturgical processions requiring nave, high altar and choirs • Rebuilt as a Protestant or Post-Reformation church, greater emphasis on access to the high altar and hearing the sermon • For Wren the prime requirement was an ‘auditory’ church with an uncluttered interior where all the congregation could see and hear. • Richness of materials and carving communicate the wealth of the city and the nation as well as demonstrating piety • Dome and towers identify presence, location and importance in the area and community. !1 • Inspires awe by the scale of dome soaring to heaven, and heavenly light from windows • Due to large scale of nave used for major national commemorations with large congregations such as state funerals and royal weddings • Contains monuments to significant individuals Watch: https://henitalks.com/talks/sandy-nairne-st-pauls-cathedral/ 6.45 minutes https://www.stpauls.co.uk/visits/visits Introduction for visitors 2.10 mins https://smarthistory.org/stpauls/ 9.06 minutes Dome View from under dome back down nave. -
CPSA Palladianism Timeline
CPSA Palladianism Timeline http://www.palladiancenter.org/timeline-Palladianism.html - Welcome Timeline: - Activities - Journal Palladio and English-American Palladianism - Articles / Data ANDREA PALLADIO distilled his his work and articulating them in his architec-tural principles from personal masterwork, Four Books on - Andrea Palladio examination of the ruins of classical Architecture. Rome, from study of the works of - How to Join Vitruvius, Alberti and other writers who This was the step which made possible the dissemination of his architectural - Directors preceded him, and from interaction with older architects of his own time, such as style, known as Palladianism, - Contact Us Jacopo Sansovino, Michele Sanmicheli throughout continental Europe, England and Giulio Romano. and America in the seventeenth and - Links eighteenth centuries, establishing This process enabled Palladio to design Palladio as the most influential figure in a remarkable collection of villas, the history of architecture. palaces, churches and other buildings for patrons in the Veneto region of Italy. The timeline below traces the pathway Palladio's greatest achievement, of Palladianism from Palladio's Veneto however, was in conceptualizing the to England and colonial America. principles which guided Palladio and his Four Books Year Related Events and Publications Andrea Palladio (1608-1580) designs villas, palaces and 1538- churches in the Veneto. 1580 1570 Palladio's masterwork, Four Books on Architecture is published in Venice 1 of 7 CPSA Palladianism Timeline http://www.palladiancenter.org/timeline-Palladianism.html Palladio dies. 1580 English Palladianism Begins 1598- Inigo Jones (1573-1652) travels to Italy to study 1603 architecture, probably funded by Roger Manners, 5th Earl of Rutland (1576-1612).