Architecture in London: Field Study
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
On Top of the World, 1830 to 1914 Transcript
On Top of the World, 1830 to 1914 Transcript Date: Wednesday, 7 March 2012 - 6:00PM Location: Museum of London 7 March 2012 On Top of the World 1830 - 1914 Professor Simon Thurley Tonight we turn to the nineteenth century. What a vast subject, what a broad canvass, how to make sense of an age when so much was built and so much architectural diversity created. Well, somehow I will have to, and that’s why, of course, I’m standing here. However Gresham College have made my job quite a lot easier as, since my last lecture, I have been invited to continue my visiting professorship for another year. So this allows me a bit of headroom. Despite its advertised title I have decided to make tonight’s lecture, which deals with the period 1830 to 1914, part one of two. In October I will deliver 1830 to 1914 part II which will deal with Victorian cities and their infrastructure. Tonight I’m going to address the issue of architectural style in Victorian England. The complexity of explaining and understanding English architecture after 1760 derives essentially from three things. These are not in any order or causal juxtaposition: the first is, changing demands - new types of building for new types of activity: railway stations, post offices, law courts, factories, warehouses, pumping stations for example. The second is rapidly developing technology in materials and techniques: iron, steel, glass, terracotta etc. The third is historicism, the fact that there were many styles to choose from, everything from Egyptian and Hindu to Ottoman and Elizabethan. -
London Metropolitan Archives Victorian Society
LONDON METROPOLITAN ARCHIVES Page 1 VICTORIAN SOCIETY LMA/4460 Reference Description Dates BUILDING SUB-COMMITTEE CASE FILES BEDFORDSHIRE HUNTINGDON AND PETERBOROUGH LMA/4460/01/01/001 Hiawatha, 6 Goldington Road, Bedford, 1968 Bedfordshire CC (Houses): demolition threat 1 file Former reference: Z34 LMA/4460/01/01/002 Old Warden Park and village, Old Warden, 1970-1982 Bedfordshire CC (Houses): development in village and listing of features in park 1 file Former reference: WV12 and O13 LMA/4460/01/01/003 Milton Ernest Hall, Milton Ernest, Bedfordshire 1968-1985 CC (Houses): restoration and addition of fire escape 1 file Former reference: C5 LMA/4460/01/01/004 Queensgate Centre, Queen Street, 1975 Peterborough, Greater Peterborough (Shopping centres): demolition and new development 1 file Former reference: Z133 BERKSHIRE LMA/4460/01/02/001 Oakley Court, Windsor Road, Bray, Royal 1967-1980 Borough of Windsor and Maidenhead (Houses): listing and new development Includes letter from Sir John Betjeman 1 file Former reference: VM5 LMA/4460/01/02/002 Buildings adjacent to Church of All Saints, Boyn 1971-1995 Hill Maidenhead, Royal Borough of Windsor and Maidenhead (Church buildings): poor condition and alterations 1 file Former reference: R5 LMA/4460/01/02/003 New town hall, Maidenhead, Royal Borough of 1959-1962 Windsor and Maidenhead (Town halls): new development 1 file Former reference: Z71 LONDON METROPOLITAN ARCHIVES Page 2 VICTORIAN SOCIETY LMA/4460 Reference Description Dates LMA/4460/01/02/004 Library, Maidenhead, Royal Borough of 1966-1967 -
Toronto Arch.CDR
The Architectural Fashion of Toronto Residential Neighbourhoods Compiled By: RASEK ARCHITECTS LTD RASE K a r c h i t e c t s www.rasekarchitects.com f in 02 | The Architectural Fashion of Toronto Residential Neighbourhoods RASEK ARCHITECTS LTD Introduction Toronto Architectural Styles The majority of styled houses in the United States and Canada are The architecture of residential houses in Toronto is mainly influenced by its history and its culture. modeled on one of four principal architectural traditions: Ancient Classical, Renaissance Classical, Medieval or Modern. The majority of Toronto's older buildings are loosely modeled on architectural traditions of the British Empire, such as Georgian, Victorian, and Edwardian architecture. Toronto was traditionally a peripheral city in the The earliest, the Ancient Classical Tradition, is based upon the monuments architectural world, embracing styles and ideas developed in Europe and the United States with only limited of early Greece and Rome. local variation. A few unique styles of architecture have emerged in Toronto, such as the bay and gable style house and the Annex style house. The closely related Renaissance Classical Tradition stems from a revival of interest in classicism during the Renaissance, which began in Italy in the The late nineteenth century Torontonians embraced Victorian architecture and all of its diverse revival styles. 15th century. The two classical traditions, Ancient and Renaissance, share Victorian refers to the reign of Queen Victoria (1837-1901), called the Victorian era, during which period the many of the same architectural details. styles known as Victorian were used in construction. The styles often included interpretations and eclectic revivals of historic styles mixed with the introduction of Middle Eastern and Asian influences. -
The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE)
ABSTRACT MARY ELIZABETH BLUME The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE) The Gothic Revival of the nineteenth century in Europe aroused a debate concerning the origin of a style already six centuries old. Besides the underlying quandary of how to define or identify “Gothic” structures, the Victorian revivalists fought vehemently over the national birthright of the style. Although Gothic has been traditionally acknowledged as having French origins, English revivalists insisted on the autonomy of English Gothic as a distinct and independent style of architecture in origin and development. Surprisingly, nearly two centuries later, the debate over Gothic’s nationality persists, though the nationalistic tug-of-war has given way to the more scholarly contest to uncover the style’s authentic origins. Traditionally, scholarship took structural or formal approaches, which struggled to classify structures into rigidly defined periods of formal development. As the Gothic style did not develop in such a cleanly linear fashion, this practice of retrospective labeling took a second place to cultural approaches that consider the Gothic style as a material manifestation of an overarching conscious Gothic cultural movement. Nevertheless, scholars still frequently look to the Isle-de-France when discussing Gothic’s formal and cultural beginnings. Gothic historians have entered a period of reflection upon the field’s historiography, questioning methodological paradigms. This -
Victorian Women and Their Working Roles
State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State English Theses English 5-2013 Victorian Women and Their orW king Roles Kara L. Barrett State University of New York, Buffalo State College, [email protected] Advisor Dr. Karen Sands- O' Connor, Ph.D., Professor of English First Reader Dr. Karen Sands- O' Connor, Ph.D., Professor of English Second Reader Dr. Mark Fulk, Ph.D., Associate Professor of English Department Chair Dr. Ralph L. Wahlstrom, Ph.D., Chair and Professor of English To learn more about the English Department and its educational programs, research, and resources, go to http://english.buffalostate.edu/. Recommended Citation Barrett, Kara L., "Victorian Women and Their orkW ing Roles" (2013). English Theses. Paper 9. Follow this and additional works at: http://digitalcommons.buffalostate.edu/english_theses Part of the English Language and Literature Commons, Feminist, Gender, and Sexuality Studies Commons, and the History of Gender Commons Victorian Women and Their Working Roles by Kara L. Barrett An Abstract of a Thesis in English Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2013 State University of New York College at Buffalo Department of English Abstract Women during the Victorian Era did not have many rights. They were viewed as only supposed to be housewives and mothers to their children. The women during this era were only viewed as people that should only concern themselves with keeping a successful household. However, during this time women were forced into working positions outside of the household. -
Edition 319 Summer 2011
THE WOOLTON SOCIETY PO Box 127, Woolton, Liverpool, L25 8WY [email protected] ISSUE NO: 319, July/August 2011 THE WOOLTON SOCIETY - SERVING THE COMMUNITY FOR NEARLY 40 YEARS NEWSLETTER Baths & Library: the campaigns go on. (see pages 3 to 6) Handing over the Save Woolton Library Petition Save the Pool site meeting Woolton in Bloom The judging date for this year’s North West in Bloom awards is to be Monday 1st August. We urge all our members to do their bit to keep Woolton blooming & litter free to ensure yet another gold medal success. 1 Society News Our next Speaker. Mr Frank Smith will return to speak to us on Wednesday 20th July, when his talk will be on amateur & gentleman William Lassell. After making his fortune in brewing, Lassell devoted his time to astronomy, discovering several planetary satellites. He was to become President of the Royal Astronomical Society & when Queen Victoria visited Liverpool in 1851 William Lassell was the only local notable she specifically asked to meet. Dates for your diary Wednesday 28th September: Kerry Peacock, the horticultural manager of Woolton in Bloom will be speaking to us on preparing our village for the visits of the North West in Bloom & Britain in Bloom judges. Wednesday 26th October: the Woolton Society AGM will be followed by an Open Forum when all our members will have an opportunity to air their views on Society matters. Refreshments will follow. Wednesday 23rd November: Anthony Moscardini will be Looking at Liverpool . Fuller details on all talks will be in later issues of the Newsletter, & on our noticeboard beside the HSBC bank. -
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. -
The Victorian Society
Registration Number 3940996 THE VICTORIAN SOCIETY Annual Report and Financial Statements Year Ended 31 December 2001 THE VICTORIAN SOCIETY LEGAL AND ADMINISTRATIVE INFORMATION THE VICTORIAN SOCIETY (founded 1958) 1 Priory Gardens, Bedford Park, London W4 1TT Telephone 020 8994 1019 Facsimile 020 8747 5899 Email [email protected] Web www.victorian-society.org.uk Patron HRH The Duke of Gloucester KG, GCVO President Lord Briggs of Lewes TRUSTEES Officers Chairs of Regional Groups Professor Chris Brooks (Chair to 3 November 2001) Birmingham Barbara Shackley Dr Geoff Brandwood (Chair from 3 November East Midlands Hilary Silvester 2001) Great Eastern Michael Pearson Leicester Jon Goodall Marion Giles (Vice chair) Liverpool Graham Fisher Teresa Sladen (Vice chair until 3 November 2001) Manchester Sue Dawson North-East Dolly Potter Alan Johnson (Hon Architect) Southampton Scott Anderson Andrew Coleman (Hon Financial Advisor) South Wales Kim Thompson David Jefferson (Hon Legal Advisor to 11 April South Yorkshire Valerie Bayliss 2001) Wessex Quentin Alder Jeremy Black (Hon Legal Advisor from 11 April West Yorkshire Peter Hirschmann 2001) Elected Members Anne Anderson Samantha Barber Jeremy Black Robin Bluhm Geoff Brandwood Chris Brooks (until 23 February 2002) David Wynford Evans Richard Evans Mike Higginbottom (until 26 January 2001) Rosemary Hill Stephen Howard Peter Howell Randal Keynes Robert Thorne Sarah Whittingham Roy Williams 2 THE VICTORIAN SOCIETY STAFF Director Ian Dungavell Senior Architectural Adviser Richard Holder Northern -
Disappearing Walls: Architecture and Literature in Victorian Britain by Benjamin Zenas Cannon a Dissertation Submitted in Partia
Disappearing Walls: Architecture and Literature in Victorian Britain By Benjamin Zenas Cannon A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Ian Duncan, Chair Professor Kent Puckett Professor Andrew Shanken Spring 2014 Disappearing Walls: Literature and Architecture in Victorian Britain © 2014 By Benjamin Zenas Cannon Abstract Disappearing Walls: Architecture and Literature in Victorian Britain By Benjamin Zenas Cannon Doctor of Philosophy in English University of California, Berkeley Prof. Ian Duncan, Chair From Discipline and Punish and The Madwoman in the Attic to recent work on urbanism, display, and material culture, criticism has regularly cast nineteenth-century architecture not as a set of buildings but as an ideological metastructure. Seen primarily in terms of prisons, museums, and the newly gendered private home, this “grid of intelligibility” polices the boundaries not only of physical interaction but also of cultural values and modes of knowing. As my project argues, however, architecture in fact offered nineteenth-century theorists unique opportunities to broaden radically the parameters of aesthetic agency. A building is generally not built by a single person; it is almost always a corporate effort. At the same time, a building will often exist for long enough that it will decay or be repurposed. Long before literature asked “what is an author?” Victorian architecture theory asked: “who can be said to have made this?” Figures like John Ruskin, Owen Jones, and James Fergusson radicalize this question into what I call a redistribution of intention, an ethically charged recognition of the value of other makers. -
'James and Decimus Burton's Regency New Town, 1827–37'
Elizabeth Nathaniels, ‘James and Decimus Burton’s Regency New Town, 1827–37’, The Georgian Group Journal, Vol. XX, 2012, pp. 151–170 TEXT © THE AUTHORS 2012 JAMES AND DECIMUS BURTON’S REGENCY NEW TOWN, ‒ ELIZABETH NATHANIELS During the th anniversary year of the birth of The land, which was part of the -acre Gensing James Burton ( – ) we can re-assess his work, Farm, was put up for sale by the trustees of the late not only as the leading master builder of late Georgian Charles Eversfield following the passing of a private and Regency London but also as the creator of an Act of Parliament which allowed them to grant entire new resort town on the Sussex coast, west of building leases. It included a favourite tourist site – Hastings. The focus of this article will be on Burton’s a valley with stream cutting through the cliff called role as planner of the remarkable townscape and Old Woman’s Tap. (Fig. ) At the bottom stood a landscape of St Leonards-on-Sea. How and why did large flat stone, locally named The Conqueror’s he build it and what role did his son, the acclaimed Table, said to have been where King William I had architect Decimus Burton, play in its creation? dined on the way to the Battle of Hastings. This valley was soon to become the central feature of the ames Burton, the great builder and developer of new town. The Conqueror’s table, however, was to Jlate Georgian London, is best known for his work be unceremoniously removed and replaced by James in the Bedford and Foundling estates, and for the Burton’s grand central St Leonards Hotel. -
London Pulpit
Transcribed from the 1858 William Tweedie edition by David Price, email [email protected] THE LONDON PULPIT. BY J. EWING RITCHIE, AUTHOR OF THE “NIGHT SIDE OF LONDON.” “Oh heavens! from the Christianity of Oliver Cromwell, wrestling in grim fight with Satan and his incarnate blackguardisms, hypocrisies, injustices, and legion of human and infernal angels, to that of eloquent Mr. Hesperus Fiddlestring, denouncing capital punishments, and inculcating the benevolences, on platforms, what a road have we travelled!”—CARLYLE’S LATTER-DAY PAMPHLETS. Second Edition. REVISED, CORRECTED, AND ENLARGED. LONDON: WILLIAM TWEEDIE, 337, STRAND. MDCCCLVIII. JOHN CHILDS AND SON, PRINTERS. p. i Dedication p. ii TO JOHN R. ROBINSON, ESQ. DEAR ROBINSON, In dedicating to you this edition of a Work, the contents of which originally appeared under your editorial sanction, I avail myself of one of the few pleasures of authorship. Of the defects of this little Volume none can be more sensible than myself: you will, however, receive it as a trifling acknowledgment on my part of the generous friendship you have ever exhibited for an occasional colleague and Yours faithfully, J. EWING RITCHIE. FINCHLEY COMMON, Nov. 7, 1857. THE p. 1 RELIGIOUS DENOMINATIONS OF LONDON. ‘Homo sum, humani nihil a me alienum puto,’ said Terence, and the sentence has been a motto for man these many years. To the human what deep interest attaches! A splendid landscape soon palls unless it has its hero. We tire of the monotonous prairie till we learn that man, with his hopes and fears, has been there; and the barrenest country becomes dear to us if it come to us with the record of manly struggle and womanly love. -
ARCHITECTURE, POWER, and POVERTY Emergence of the Union
ARCHITECTURE, POWER, AND POVERTY Emergence of the Union Workhouse Apparatus in the Early Nineteenth-Century England A Thesis Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Arts by Gökhan Kodalak January 2015 2015, Gökhan Kodalak ABSTRACT This essay is about the interaction of architecture, power, and poverty. It is about the formative process of the union workhouse apparatus in the early nineteenth-century England, which is defined as a tripartite combination of institutional, architectural, and everyday mechanisms consisting of: legislators, official Poor Law discourse, and administrative networks; architects, workhouse buildings, and their reception in professional journals and popular media; and paupers, their everyday interactions, and ways of self-expression such as workhouse ward graffiti. A cross-scalar research is utilized throughout the essay to explore how the union workhouse apparatus came to be, how it disseminated in such a dramatic speed throughout the entire nation, how it shaped the treatment of pauperism as an experiment for the modern body-politic through the peculiar machinery of architecture, and how it functioned in local instances following the case study of Andover union workhouse. BIOGRAPHICAL SKETCH Gökhan Kodalak is a PhD candidate in the program of History of Architecture and Urbanism at Cornell University. He received his bachelor’s degree in architectural design in 2007, and his master’s degree in architectural theory and history in 2011, both from Yıldız Technical University, Istanbul. He is a co-founding partner of ABOUTBLANK, an inter-disciplinary architecture office located in Istanbul, and has designed a number of award-winning architectural and urban design projects in national and international platforms.