DOCSLIB.ORG

Appendices to Proof of Evidence

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Appendices to Proof of Evidence TOWN AND COUNTRY PLANNING ACT 1990 SECTION 79 AND TOWN AND COUNTRY PLANNING (INQUIRIES PROCEDURE) (ENGLAND) RULES 2000 APPENDICES TO PROOF OF EVIDENCE MICHAEL ALAN DUNN BA, MA, Dip UD, IHBC Application by Starbones Ltd. Land at Chiswick Roundabout, Great West Road, Chiswick, London W4 5QB Local Planning Authority reference 00505/EY/P18 PINS reference APP/F5540/W/17/3180962 1 Contents 1. Images p. 3 2. Designated Heritage Assets p.1 9 3. Biographical Information p.4 2 4. Historic England Pre -application Advice p.5 6 2 APPENDIX 1 - IMAGES Contents 1.1. W. Chambers, General Plan of the Gardens at Kew (1763) 1.2. Detail of the General Plan of the Gardens at Kew (1763) 1.3. A View of the… Orangerie (1768) 1.4. C. Campbell, Gunnersbury House 1.5. Map of Gunnersbury Park 1.6. Detail showing the historic setting of the Gunnersbury Orangery (1847) 1.7. Detail showing the Orangery at Gunnersbury against the horseshoe pond (1847) 1.8. Detail showing the view across the Round Pond (1847) 1.9. J. Rocque, Map 1741-45 (1847) 1.10. Annotated image of Kew Green 1.11. Annotated image of Strand on the Green 1.12. Clark and Leigh, Thames Panorama 1.13. Photograph c.1900 View across the Thames to Strand on the Green 1.14. Johan Zoffany, The Garden at Hampton House with Mr. And Mrs. Garrick taking tea 1.15. Johan Zoffany, The Last Supper 1.16. A. Sykes, Low Water, Strand-on-the-Green, London 1.17. A. S. Hartrick Zoffany, House and the Moorings, Strand on the Green 1.18. J. M. W. Turner, The River Thames and Kew Bridge, with Brentford Eyot in the Foreground and Strand-on-the-Green Seen through the Arches: Low Tide 1.19. F. W. Watts, Strand on the Green, London 3 1.1 Sir William SirChambers, General Plan of the Gardens at Kew, ofat Gardens Generalthe Kew, Plan Watercolourcollection inandink of(1763), the th e Metropolitan Museum of Art, New York,e Metropolitan ofNew USA. Museum Art, 4 1.2 Detail of the General Plan of the Gardens at Kew annoted by the Author to highlight the relationship between the Orangery, White House, and Great Lawn. 5 6 6 1.3 Hullett, A view of the Lake and Island, with the Orangerie, the Temple of Elous & Bellona, and the House of Confucius in the Garden of Her Royal Highness the Princess Dowager of Wales at Kew. Print (1768), in the Gentleman’s Magazine . 7 7 1.4 C. Campbell, Vitruvius Britannicus or the British Architect, vol. 1 (published by the author, London: 1715) pp.4,17 -18. 1.5 After Major Ed Kretschmar, Map of Gunnersbury Park with geological sections and views taken on the estate. Hand coloured lithograph (1847), in the Royal Collection of HM the Queen. 8 9 9 1.8 Detail of A Map of Gunnersbury Park (etc.) showing the view from the position of the Temple overlooking the round pond. 1.7 Detail of A Map of Gunnersbury Park (etc.) showing the setting of the Orangery and the Horseshoe pond. 1.6 Detail of A Map of Gunnersbury Park (etc.) showing the historic setting of the Orangery. 1.9 John Rocque’s map of the area 1741-45 10 11 11 1.10 Historic England annotations applied to LB Hounslow visualisation of the proposed scheme as seen from Kew Green. The annotations draw attention to the high number of Listed Buildings along the Green, showing all those along the norther edge of its western half. Unless otherwise indicated the named buildings are Grade II listed. 12 12 1.1 1 Historic England annotations applied to LB Hounslow visualisation of the proposed scheme as seen in relation to the Strand on the Green. The annotations draw attention to the high number of Listed Buildings along the Strand on the Green, showing all those along the water’s edge to the west of Oliver’s Island. Unless otherwise indicated the named buildings are Grade II listed. 13 13 1.1 2 Detail from Panorama of the Thames from London to Richmond: exhibiting every object on both banks of the river, with a concise descriptio n of the most remarkable places, and a general view of London , etched and aquatinted by [John] Clark, (published by Samuel Leigh ca.1824). 14 14 1.1 3 OP17119 View across the Thames to Strand on the Green c.1900 (Historic England Archive). 1.14 Johan Zoffany The Garden at Hampton House with Mr. and Mrs. Garrick taking tea , oil on canvas (1762). In the Collection of the Garrick Club. 1.15 Johan Zoffany The Last Supper, oil on canvas (17??). In the church of St John, Kolkata, India. 15 1.16 Aubrey Sykes (1910-1995), Low Water, Strand-on-the-Green, London , in the Guildhall Art Gallery, City of London. 1.17 A. S. Hartrick, Zachary House, Zoffany House and the Moorings, Strand on the Green, Chiswick , watercolour (ca.1940) in the V&A Museum, London. 16 1.18 J. M. W. Turner, The River Thames and Kew Bridge, with Brentford Eyot in the Foreground and Strand-on- the-Green Seen through the Arches: Low Tide, pencil and watercolour on paper (1805), in the Tate Gallery. 17 1.19 F. W. Watts (1800-1870), Strand-on-the-Green, London , oil on canvas. In the Collection of the Chequers Trust. 18 APPENDIX 2 - DESIGNATED HERITAGE ASSETS Contents: Relevant ‘List Descriptions’ from the National Heritage List for England including Grade I and II* designated heritage assets referred to in the text of the Proof of Evidence (abridged for ease of reference): 2.1. Orangery (Grade I) 2.2. Kew Palace (Grade I) 2.3. Gunnersbury Park (Registered Park and Garden) (Grade II*) 2.4. Temple in Gunnersbury Park (Grade II*) 2.5. Gunnersbury Large Mansion (Grade II*) 2.6. Conservatory in Gunnersbury Park [the Orangery] (Grade II*) 2.7. East Stables in Gunnersbury Park (Grade II*) 2.8. Gunnersbury House [the Small Mansion] (Grade II) 2.9. Parish Church of St Anne (Grade II*) 2.10. Churchyard of Church of St Anne, to South of Church [Tomb of Thomas Gainsborough] (Grade II*) 2.11. Churchyard of Church of St Anne, to South of Church [Tomb of John Zoffany] (Grade II*) 2.12. Principal entrance gates and railings front Kew Green, Royal Botanic Gardens, Kew (Grade II*) 2.13. Zoffany House (Grade II*) Schedules of all Designated Heritage Assets including List Entry Numbers: 2.14. Within Royal Botanic Gardens, Kew, World Heritage Site 2.15. Within Gunnersbury Park Grade II* Registered Park and Garden 19 2.1. ORANGERY List entry Number: 1263075 ORANGERY, ROYAL BOTANIC GARDENS KEW, KEW GREEN, RICHMOND UPON THAMES, TW9 3AB County: Greater London Authority District: Richmond upon Thames District Type: London Borough Grade: I Date first listed: 10-Jan-1950 UID: 433279 This list entry was subject to a Minor Amendment on 05/10/2017 ROYAL BOTANIC GARDENS KEW Orangery 1761. Sir William Chambers. Brick (still stuccoed with Chambers' stucco). Seven bays long with rusticated walls and arched openings, the first and last bays being pedimented one single, tall storey. Modillion eaves cornice. National Grid Reference: TQ 18620 77421 20 2.2. KEW PALACE List entry Number: 1263073 KEW PALACE, ROYAL BOTANIC GARDENS KEW, KEW GREEN, RICHMOND UPON THAMES, TW9 3AB County: Greater London Authority District: Richmond upon Thames District Type: London Borough Grade: I Date first listed: 10-Jan-1950 UID: 433275 This list entry was subject to a Minor Amendment on 10/10/2017 ROYAL BOTANIC GARDENS KEW Kew Palace 1631. Built by Samuel Fortrey a Flemish merchant whose initials with those of his wife are above the door. Square red brick mansion with Dutch Gables and classical cornices, and classical Orders on entrance front, all in cut and moulded brickwork. Pantile roof. Three storeys and dormers. Entrance facade is seven bays wide, with the outer two on either side slightly advanced. Central entrance. Windows replaced in the C18. Entrance front altered in the C19. The interior is mainly C18 and early C19, with some earlier panelling. A Royal Residence from 1754 until 1818, at the death of Queen Charlotte. It was the home of Augusta, Princess of Wales, who had the garden laid out, during her widowhood. After her death the home of the Royal Princes. George III and Queen Charlotte lived here while waiting for the Wyatt Palace to be built. National Grid Reference: TQ 18482 77474 21 2.3. GUNNERSBURY PARK Name: GUNNERSBURY PARK List entry Number: 1000808 County: Greater London Authority District: Ealing District Type: London Borough County: Greater London Authority District: Hounslow District Type: London Borough Grade: II* Date first registered: 01-Oct-1987 UID: 1801 Details An C18 formal garden, altered mid C18 with some involvement from William Kent. The grounds were developed in the later C18 for Princess Amelia and extended in the mid C19 by Baron Lionel de Rothschild. The site became a public park in 1925. HISTORIC DEVELOPMENT The area in which Gunnersbury Park is situated was, in the Middle Ages, an estate owned by the bishops of London, part of the Manor of Fulham. By 1656 Gunnersbury had been purchased by Sir John Maynard (1602-90). Maynard engaged the architect John Webb (1611-72), pupil and relative of Inigo Jones, to build a new manor house on the estate. Gunnersbury estate was purchased by Henry Furness, MP and art collector, in 1739. A map surveyed in 1741 (Rocque, 1746) shows a formal layout south of the house, with the main axis, at one point flanked by formal canals, aligned on the house and continuing south through the pleasure grounds in the form of an avenue.
Load more

Recommended publications
  • The Death of Captain Cook in Theatre 224
    The Many Deaths of Captain Cook A Study in Metropolitan Mass Culture, 1780-1810 Ruth Scobie PhD University of York Department of English April 2013 i Ruth Scobie The Many Deaths of Captain Cook Abstract This thesis traces metropolitan representations, between 1780 and 1810, of the violent death of Captain James Cook at Kealakekua Bay in Hawaii. It takes an interdisciplinary approach to these representations, in order to show how the interlinked texts of a nascent commercial culture initiated the creation of a colonial character, identified by Epeli Hau’ofa as the looming “ghost of Captain Cook.” The introduction sets out the circumstances of Cook’s death and existing metropolitan reputation in 1779. It situates the figure of Cook within contemporary mechanisms of ‘celebrity,’ related to notions of mass metropolitan culture. It argues that previous accounts of Cook’s fame have tended to overemphasise the immediacy and unanimity with which the dead Cook was adopted as an imperialist hero; with the result that the role of the scene within colonialist histories can appear inevitable, even natural. In response, I show that a contested mythology around Cook’s death was gradually constructed over the three decades after the incident took place, and was the contingent product of a range of texts, places, events, and individuals. The first section examines responses to the news of Cook’s death in January 1780, focusing on the way that the story was mediated by, first, its status as ‘news,’ created by newspapers; and second, the effects on Londoners of the Gordon riots in June of the same year.
    [Show full text]
  • Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
    MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as
    [Show full text]
  • Download (2216Kb)
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/150023 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications ‘AN ENDLESS VARIETY OF FORMS AND PROPORTIONS’: INDIAN INFLUENCE ON BRITISH GARDENS AND GARDEN BUILDINGS, c.1760-c.1865 Two Volumes: Volume I Text Diane Evelyn Trenchard James A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of Warwick, Department of History of Art September, 2019 Table of Contents Acknowledgements ………………………………………………………………. iv Abstract …………………………………………………………………………… vi Abbreviations ……………………………………………………………………. viii . Glossary of Indian Terms ……………………………………………………....... ix List of Illustrations ……………………………………………………………... xvii Introduction ……………………………………………………………………….. 1 1. Chapter 1: Country Estates and the Politics of the Nabob ………................ 30 Case Study 1: The Indian and British Mansions and Experimental Gardens of Warren Hastings, Governor-General of Bengal …………………………………… 48 Case Study 2: Innovations and improvements established by Sir Hector Munro, Royal, Bengal, and Madras Armies, on the Novar Estate, Inverness, Scotland …… 74 Case Study 3: Sir William Paxton’s Garden Houses in Calcutta, and his Pleasure Garden at Middleton Hall, Llanarthne, South Wales ……………………………… 91 2. Chapter 2: The Indian Experience: Engagement with Indian Art and Religion ……………………………………………………………………….. 117 Case Study 4: A Fairy Palace in Devon: Redcliffe Towers built by Colonel Robert Smith, Bengal Engineers ……………………………………………………..….
    [Show full text]
  • GUNNERSBURY PARK Options Appraisal
    GUNNERSBURY PARK Options Appraisal Report By Jura Consultants and LDN Architects June 2009 LDN Architects 16 Dublin Street Edinburgh EH1 3RE 0131 556 8631 JURA CONSULTANTS www.ldn.co.uk 7 Straiton View Straiton Business Park Loanhead Midlothian Edinburgh Montagu Evans LLP EH20 9QZ Clarges House 6-12 Clarges Street TEL. 0131 440 6750 London, W1J 8HB FAX. 0131 440 6751 [email protected] 020 7493 4002 www.jura-consultants.co.uk www.montagu-evans.co.uk CONTENTS Section Page Executive Summary i. 1. Introduction 1. 2. Background 5. 3. Strategic Context 17. 4. Development of Options and Scenarios 31. 5. Appraisal of Development Scenarios 43. 6. Options Development 73. 7. Enabling Development 87. 8. Preferred Option 99. 9. Conclusions and Recommendations 103. Appendix A Stakeholder Consultations Appendix B Training Opportunities Appendix C Gunnersbury Park Covenant Appendix D Other Stakeholder Organisations Appendix E Market Appraisal Appendix F Conservation Management Plan The Future of Gunnersbury Park Consultation to be conducted in the Summer of 2009 refers to Options 1, 2, 3 and 4. These options relate to the options presented in this report as follows: Report Section 6 Description Consultation Option A Minimum Intervention Option 1 Option B Mixed Use Development Option 2 Option C Restoration and Upgrading Option 4 Option D Destination Development Option 3 Executive Summary EXECUTIVE SUMMARY Introduction A study team led by Jura Consultants with LDN Architects and Montagu Evans was commissioned by Ealing and Hounslow Borough Councils to carry out an options appraisal for Gunnersbury Park. Gunnersbury Park is situated within the London Borough of Hounslow and is unique in being jointly owned by Ealing and Hounslow.
    [Show full text]
  • N11 Bus Time Schedule & Line Route
    N11 bus time schedule & line map N11 Liverpool Street - Ealing Broadway View In Website Mode The N11 bus line (Liverpool Street - Ealing Broadway) has 2 routes. For regular weekdays, their operation hours are: (1) Ealing Broadway: 12:21 AM - 4:51 AM (2) Liverpool Street: 12:15 AM - 11:45 PM Use the Moovit App to ƒnd the closest N11 bus station near you and ƒnd out when is the next N11 bus arriving. Direction: Ealing Broadway N11 bus Time Schedule 81 stops Ealing Broadway Route Timetable: VIEW LINE SCHEDULE Sunday 12:21 AM - 4:51 AM Monday 12:21 AM - 4:51 AM Liverpool Street Station (L) 192 Bishopsgate, London Tuesday 12:21 AM - 4:51 AM Wormwood Street (Y) Wednesday 12:21 AM - 4:51 AM 99 Bishopsgate, London Thursday 12:21 AM - 4:51 AM Old Broad Street (LL) Friday 12:21 AM - 4:51 AM 5 Old Broad Street, London Saturday 12:21 AM - 4:51 AM Bank Station / Queen Victoria Street 1 Poultry, London St Paul's Churchyard (SH) Old Change Court, London N11 bus Info Direction: Ealing Broadway St Paul's Cathedral (SJ) Stops: 81 10 Saint Paul's Church Yard, London Trip Duration: 83 min Line Summary: Liverpool Street Station (L), City Thameslink Stn / Ludgate Circus (F) Wormwood Street (Y), Old Broad Street (LL), Bank 65 Ludgate Hill, London Station / Queen Victoria Street, St Paul's Churchyard (SH), St Paul's Cathedral (SJ), City Thameslink Stn / Shoe Lane (H) Ludgate Circus (F), Shoe Lane (H), Fetter Lane (W), Fleet Street, London Chancery Lane (W), The Royal Courts Of Justice (P), Aldwych / Drury Lane (R), Savoy Street (U), Bedford Fetter Lane (W) Street
    [Show full text]
  • Gunnersbury Park and Museum
    GUNNERSBURY PARK London Public Feedback Meeting Keith Townsend, Executive Director, Ealing Council 11 February 2014 Gunnersbury 2026 Gunnersbury Park Regeneration Project GUNNERSBURY PARK London Slide 2 Outline of presentation • Welcome and Introductions • Gunnersbury 2026 • Public Consultation Findings and Next Steps • Future Sustainability and Governance • Questions Gunnersbury Park Regeneration Project GUNNERSBURY PARK London Slide 3 The Challenge • Restore Gunnersbury Park and Museum by its centenary in 2026 • Return it to the heart of the community and ensure it can offer something for everyone • Ensure it is looked after for the next 100 years and beyond Opening of Gunnersbury Park, 1926 Gunnersbury Park Regeneration Project GUNNERSBURY PARK London Slide 4 Development of the Masterplan • High level cost estimate of £51m to address all the issues and challenges • Holistic approach taken as advised by English Heritage • Phasing of the 12 year programme to maximise the opportunity of delivering a first phase • A strategy supported by both Councils for HLF funding with park and museum bids running in parallel • Governance – clear structure, both councils working together with English Heritage on the Project Board Gunnersbury Park Regeneration Project GUNNERSBURY PARK London Slide 5 Development of the Masterplan – Phase 1 (£21m) • Repair and refurbishment of large mansion and museum • Priority repairs following condition surveys • Refurbishment of priority heritage parkland inc Orangery plus other key park features including boating lake,
    [Show full text]
  • History Timeline from 13.7 Billion Years Ago to August 2013. 1 of 588 Pages This PDF History Timeline Has Been Extracted
    History Timeline from 13.7 Billion Years ago to August 2013. 1 of 588 pages This PDF History Timeline has been extracted from the History World web site's time line. The PDF is a very simplified version of the History World timeline. The PDF is stripped of all the links found on that timeline. If an entry attracts your interest and you want further detail, click on the link at the foot of each of the PDF pages and query the subject or the PDF entry on the web site, or simply do an internet search. When I saw the History World timeline I wanted a copy of it for myself and my family in a form that we could access off-line, on demand, on the device of our choice. This PDF is the result. What attracted me particularly about the History World timeline is that each event, which might be earth shattering in itself with a wealth of detail sufficient to write volumes on, and indeed many such events have had volumes written on them, is presented as a sort of pared down news head-line. Basic unadorned fact. Also, the History World timeline is multi-faceted. Most historic works focus on their own area of interest and ignore seemingly unrelated events, but this timeline offers glimpses of cross-sections of history for any given time, embracing art, politics, war, nations, religions, cultures and science, just to mention a few elements covered. The view is fascinating. Then there is always the question of what should be included and what excluded.
    [Show full text]
  • The Architecture of Sir Ernest George and His Partners, C. 1860-1922
    The Architecture of Sir Ernest George and His Partners, C. 1860-1922 Volume II Hilary Joyce Grainger Submitted in fulfilment of the requirements for the degree of Ph. D. The University of Leeds Department of Fine Art January 1985 TABLE OF CONTENTS Notes to Chapters 1- 10 432 Bibliography 487 Catalogue of Executed Works 513 432 Notes to the Text Preface 1 Joseph William Gleeson-White, 'Revival of English Domestic Architecture III: The Work of Mr Ernest George', The Studio, 1896 pp. 147-58; 'The Revival of English Domestic Architecture IV: The Work of Mr Ernest George', The Studio, 1896 pp. 27-33 and 'The Revival of English Domestic Architecture V: The Work of Messrs George and Peto', The Studio, 1896 pp. 204-15. 2 Immediately after the dissolution of partnership with Harold Peto on 31 October 1892, George entered partnership with Alfred Yeates, and so at the time of Gleeson-White's articles, the partnership was only four years old. 3 Gleeson-White, 'The Revival of English Architecture III', op. cit., p. 147. 4 Ibid. 5 Sir ReginaldýBlomfield, Richard Norman Shaw, RA, Architect, 1831-1912: A Study (London, 1940). 6 Andrew Saint, Richard Norman Shaw (London, 1976). 7 Harold Faulkner, 'The Creator of 'Modern Queen Anne': The Architecture of Norman Shaw', Country Life, 15 March 1941 pp. 232-35, p. 232. 8 Saint, op. cit., p. 274. 9 Hermann Muthesius, Das Englische Haus (Berlin 1904-05), 3 vols. 10 Hermann Muthesius, Die Englische Bankunst Der Gerenwart (Leipzig. 1900). 11 Hermann Muthesius, The English House, edited by Dennis Sharp, translated by Janet Seligman London, 1979) p.
    [Show full text]
  • The Construction of Northumberland House and the Patronage of Its Original Builder, Lord Henry Howard, 1603–14
    The Antiquaries Journal, 90, 2010,pp1 of 60 r The Society of Antiquaries of London, 2010 doi:10.1017⁄s0003581510000016 THE CONSTRUCTION OF NORTHUMBERLAND HOUSE AND THE PATRONAGE OF ITS ORIGINAL BUILDER, LORD HENRY HOWARD, 1603–14 Manolo Guerci Manolo Guerci, Kent School of Architecture, University of Kent, Marlowe Building, Canterbury CT27NR, UK. E-mail: [email protected] This paper affords a complete analysis of the construction of the original Northampton (later Northumberland) House in the Strand (demolished in 1874), which has never been fully investigated. It begins with an examination of the little-known architectural patronage of its builder, Lord Henry Howard, 1st Earl of Northampton from 1603, one of the most interesting figures of the early Stuart era. With reference to the building of the contemporary Salisbury House by Sir Robert Cecil, 1st Earl of Salisbury, the only other Strand palace to be built in the early seventeenth century, textual and visual evidence are closely investigated. A rediscovered eleva- tional drawing of the original front of Northampton House is also discussed. By associating it with other sources, such as the first inventory of the house (transcribed in the Appendix), the inside and outside of Northampton House as Henry Howard left it in 1614 are re-configured for the first time. Northumberland House was the greatest representative of the old aristocratic mansions on the Strand – the almost uninterrupted series of waterfront palaces and large gardens that stretched from Westminster to the City of London, the political and economic centres of the country, respectively. Northumberland House was also the only one to have survived into the age of photography.
    [Show full text]
  • Ivan Vladislavovich Zholtovskii and His Influence on the Soviet Avant-Gavde
    87T" ACSA ANNUAL MEETING 125 Ivan Vladislavovich Zholtovskii and His Influence on the Soviet Avant-Gavde ELIZABETH C. ENGLISH University of Pennsylvania THE CONTEXT OF THE DEBATES BETWEEN Gogol and Nikolai Nadezhdin looked for ways for architecture to THE WESTERNIZERS AND THE SLAVOPHILES achieve unity out of diverse elements, such that it expressed the character of the nation and the spirit of its people (nnrodnost'). In the teaching of Modernism in architecture schools in the West, the Theories of art became inseparably linked to the hotly-debated historical canon has tended to ignore the influence ofprerevolutionary socio-political issues of nationalism, ethnicity and class in Russia. Russian culture on Soviet avant-garde architecture in favor of a "The history of any nation's architecture is tied in the closest manner heroic-reductionist perspective which attributes Russian theories to to the history of their own philosophy," wrote Mikhail Bykovskii, the reworking of western European precedents. In their written and Nikolai Dmitriev propounded Russia's equivalent of Laugier's manifestos, didn't the avantgarde artists and architects acknowledge primitive hut theory based on the izba, the Russian peasant's log hut. the influence of Italian Futurism and French Cubism? Imbued with Such writers as Apollinari Krasovskii, Pave1 Salmanovich and "revolutionary" fervor, hadn't they publicly rejected both the bour- Nikolai Sultanov called for "the transformation. of the useful into geois values of their predecessors and their own bourgeois pasts? the beautiful" in ways which could serve as a vehicle for social Until recently, such writings have beenacceptedlargelyat face value progress as well as satisfy a society's "spiritual requirements".' by Western architectural historians and theorists.
    [Show full text]
  • +44 (0)1844 277188 +44 (0) 20 7394 2100 +44 (0)20 7394 8061 [email protected] [email protected] [email protected]
    ROPEWALK THREE PIGEONS BRUNSWICK HOUSE Arch 52, London Road, 30 Wandsworth Road, Maltby Street, Milton Common, Vauxhall, Bermondsey, Oxfordshire OX9 2JN London SW8 2LG London SE1 3PA www.lassco.co.uk +44 (0)1844 277188 +44 (0) 20 7394 2100 +44 (0)20 7394 8061 [email protected] [email protected] [email protected] SIR WILLIAM CHAMBERS' DOORCASE An important carved Portland Stone doorcase c.1769, by Chambers (1723-1796) for his own house in Berners Street Westminster the triangular pediment with dentil mouldings above the rusticated cushion moulded frieze centred by a keystone in Coade Stone modelled in relief with a female mask, the jambs constructed with alternating rusticated quoins, DIMENSIONS: 432cm (170") High, 244cm (96") Wide, 198 (78.5) wide at jambs, Aperture = 315 x 152cm (124 x 59.75 STOCK CODE: 43528 HISTORY Sir William Chambers (1723-96) is one of the most revered of Georgian neo-classical architects. In his early career he was appointed architectural tutor to the Prince of Wales, later George III. In 1766, he became Architect to the King, (this being an unofficial title, rather than an actual salaried post with the Office of Works). He worked for Augusta, Dowager Princess of Wales building exotic garden buildings at Kew (the pagoda is his), and in 1757 he published a book of Chinese designs which had a significant influence on contemporary taste. He developed his Chinese interests further with his Dissertation on Oriental Gardening (1772), a fanciful elaboration of contemporary English ideas about the naturalistic style of gardening in China.
    [Show full text]
  • 1 Dataset Illustration
    1 Dataset Illustration The images are crawled from Wikimedia. Here we summary the names, index- ing pages and typical images for the 66-class architectural style dataset. Table 1: Summarization of the architectural style dataset. Url stands for the indexing page on Wikimedia. Name Typical images Achaemenid architecture American Foursquare architecture American craftsman style Ancient Egyptian architecture Art Deco architecture Art Nouveau architecture Baroque architecture Bauhaus architecture 1 Name Typical images Beaux-Arts architecture Byzantine architecture Chicago school architecture Colonial architecture Deconstructivism Edwardian architecture Georgian architecture Gothic architecture Greek Revival architecture International style Novelty 2 architecture Name Typical images Palladian architecture Postmodern architecture Queen Anne architecture Romanesque architecture Russian Revival architecture Tudor Revival architecture 2 Task Description 1. 10-class dataset. The ten datasets used in the classification tasks are American craftsman style, Baroque architecture, Chicago school architecture, Colonial architecture, Georgian architecture, Gothic architecture, Greek Revival architecture, Queen Anne architecture, Romanesque architecture and Russian Revival architecture. These styles have lower intra-class vari- ance and the images are mainly captured in frontal view. 2. 25-class dataset. Except for the ten datasets listed above, the other fifteen styles are Achaemenid architecture, American Foursquare architecture, Ancient Egyptian architecture,
    [Show full text]