On Top of the World, 1830 to 1914 Transcript
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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. -
QUES in ARCH HIST I Jump to Today Questions in Architectural History 1
[email protected] - QUES IN ARCH HIST I Jump to Today Questions in Architectural History 1 Faculty: Zeynep Çelik Alexander, Reinhold Martin, Mabel O. Wilson Teaching Fellows: Oskar Arnorsson, Benedict Clouette, Eva Schreiner Thurs 11am-1pm Fall 2016 This two-semester introductory course is organized around selected questions and problems that have, over the course of the past two centuries, helped to define architecture’s modernity. The course treats the history of architectural modernity as a contested, geographically and culturally uncertain category, for which periodization is both necessary and contingent. The fall semester begins with the apotheosis of the European Enlightenment and the early phases of the industrial revolution in the late eighteenth century. From there, it proceeds in a rough chronology through the “long” nineteenth century. Developments in Europe and North America are situated in relation to worldwide processes including trade, imperialism, nationalism, and industrialization. Sequentially, the course considers specific questions and problems that form around differences that are also connections, antitheses that are also interdependencies, and conflicts that are also alliances. The resulting tensions animated architectural discourse and practice throughout the period, and continue to shape our present. Each week, objects, ideas, and events will move in and out of the European and North American frame, with a strong emphasis on relational thinking and contextualization. This includes a historical, relational understanding of architecture itself. Although the Western tradition had recognized diverse building practices as “architecture” for some time, an understanding of architecture as an academic discipline and as a profession, which still prevails today, was only institutionalized in the European nineteenth century. -
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. -
The Commission for Somerset House in the “Eye of the Public”’, the Georgian Group Journal, Vol
Jocelyn Anderson, ‘The Commission for Somerset House in the “Eye of the Public”’, The Georgian Group Journal, Vol. XXIV, 2016, pp. 81–94 TEXT © THE AUTHORS 2016 THE COMMISSION FOR SOMERSET HOUSE IN The ‘EYE OF THE PUBLIC’ JOCELYN ANDERSON Although architectural historians have long identified been debated in Parliament and in the press. This Somerset House as the single most important public article examines these debates and explores the public building project to be built in late eighteenth-century interest which surrounded the Somerset House project Britain, relatively little work has been done on public when Chambers received the commission, and in reactions to it. When Sir William Chambers received doing so, it analyses the context in which he produced the commission in November 1775, the project had his designs. been underway for months, during which time it had Fig. 1. North Front (Strand Facade) Somerset House. (Courthauld Institute of Art) THE GEORGIAN GROUP JOURNAL VOLUME XXIV THE COMMISSION FOR SOMERSET HOUSE IN THE ‘ EYE OF THE PUBLIC ’ omerset House (Fig. 1) has long been recognized In the days that followed this announcement, a Sas the single most important public building series of proposals were debated by the House, project to have been executed in late eighteenth- and, although they were ultimately passed, they led century Britain. Intended to house offices for the to disputes. Newspapers criticised the project as a Navy, several tax departments, the Royal Academy, royal conspiracy, members of Parliament debated Royal Society and Royal Society of Antiquaries, what architectural style and expenditure would it was designed by Sir William Chambers. -
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. -
Images of New England: Documenting the Built Environment
474 American Archivist / Vol. 50 / Fall 1987 Downloaded from http://meridian.allenpress.com/american-archivist/article-pdf/50/4/474/2747585/aarc_50_4_k61r617u31jx5704.pdf by guest on 23 September 2021 Images of New England: Documenting the Built Environment NANCY CARLSON SCHROCK Abstract: The 1980s find the New England states in a period of economic expansion and development that has an impact upon its landscape and built environment. Older structures are being renovated or destroyed, while extensive new building is simultaneously under way. Documenting these changes involves identifying and preserving the records of build- ings that are disappearing as well as those of new construction. The author reviews briefly the history of architecture in New England, focusing on its relationship to the evolution of types of documentation in the nineteenth and twentieth centuries: original design records, publications and stock plans, and visual records of completed buildings and their changes over time. The differing approaches of the six states to preserving these records are profiled, and their efforts linked with the growth of an active historic preservation movement. Aspects of the built environment remain less well documented: current development, commercial architecture, landscape design, builders' records, and owner-initiated projects. The author concludes by proposing regional efforts to deal with these issues, capitalizing upon the expertise and experience of the curators, archivists, and conservators of New England's architectural collections. About the author: Nancy Carlson Schrock is self-employed as a book conservator and consultant on library preservation in Winchester, Massachusetts. During 1979-82, she served as project di- rector for NHPRC- and NEH-sponsored surveys of architectural records, which culminated in publication of Mass COPAR's Architectural Records in Boston. -
FACT SHEET Frogmore House Frogmore House
FACT SHEET Frogmore House Frogmore House is a private, unoccupied residence set in the grounds of the Home Park of Windsor Castle. It is frequently used by the royal family for entertaining. It was recently used as the reception venue for the wedding of The Queen’s eldest grandson, Peter Phillips, to Autumn Kelly, in May 2008. How history shaped Frogmore The estate in which Frogmore House now lies first came into royal ownership in the 16th century. The original Frogmore House was built between 1680 and 1684 for tenants Anne Aldworth and her husband Thomas May, almost certainly to the designs of his uncle, Hugh May who was Charles II’s architect at Windsor. From 1709 to 1738 Frogmore House was leased by the Duke of NorthumberlandNorthumberland, son of Charles II by the Duchess of Cleveland. The House then had a succession of occupants, including Edward Walpole, second son of the Prime Minister Sir Robert Walpole. In 1792 George III (r. 1760-1820) bought Frogmore House for his wife Queen CharlotteCharlotte, who used it for herself and her unmarried daughters as a country retreat. Although the house had been continuously occupied and was generally in good condition, a number of alterations were required to make it fit for the use of the royal family, and architect James Wyatt was appointed to the task. By May 1795, Wyatt had extended the second floor and added single- storey pavilions to the north and south of the garden front, linked by an open colonnade and in 1804 he enlarged the wings by adding a tall bow room and a low room beyond, to make a dining room and library at the south end and matching rooms at the north. -
A Christmas Quiz 2020 Do You Really Know
A CHRISTMAS QUIZ 2020 DO YOU REALLY KNOW YOUR LONDON? 1. Why was the cross at Charing Cross originally erected? 2. Who was woken at Kensington Palace and told that she was the Queen and what was the date of this event 3. When George III acquired Buckingham House, what was the house usually called during his reign? 4. From what royal palace, did Queen Elizabeth I conduct the defence of England against the Spanish Armada? 5. Who, on 30th January 1649, stepped out of a window of the Banqueting House to his death? 6. What catastrophe started in Farriner’s Baking house on 2nd September 1666? 7. What was the event on 20th June 1834, which J M W Turner depicted? 8. Why did St. Paul’s Cathedral almost suffer the same fate in December 1940, as its predecessor had suffered 9. When the Pantheon, designed by James Wyatt, was burnt down in January 1792, what particularly astonished the spectators, who came to look at the scene on the following day? . 10. In 1698 the Palace of Whitehall was burnt to the ground apart from one major building. What was the building? 11 Originally the Great Western Railway was planned to terminate at Euston and share the terminus with the London and Birmingham Railway. Why did Brunel, the chief engineer for the GWR, object to this? 12. Victoria Station was built for two different railway companies. What was the name of these companies? 13. Where and in what year was the first escalator built on the Underground? 14. What marked the entrance to Euston, when it was first built? 15. -
Brooks 1 Carson Brooks Professor Spanagel ISP Architectural History
Brooks 1 Carson Brooks Professor Spanagel ISP Architectural History 20 June 2018 Evolution of Victorian Architecture Intro: The nineteenth century in London is when industrialization occurred, thus, the way the city developed changed greatly. The changes came from what materials became available, the factories being built, and the demand for housing. The style of architecture during the nineteenth century is known as Victorian. Due to such a large number of migrants to London during the nineteenth century, the city is left with little choice but to expand rapidly, leading to the creation of flats instead of full houses. Population Rise and Influence: During the nineteenth century, London grew and expanded rapidly. Within a ten-year time period more than 330,000 migrants entered the capital, “representing a staggering 17 percent of the total population” (Porter 2001, 205). At the start of the nineteenth century London’s population was approximately one million, by the end of the century the population grew to four and a half million (Porter 205). London had limited choices of how to respond to the increasing population so the city began expanding. Once London began to expand, suburbs developed that separated social classes. During the Victorian era, houses are built for middle class people but within the century, the design of housing is altered. The middle class, otherwise known as the working class, became the target market. Over-crowding and “high market value of land in central London with the low market value of many forms of labor” causes housing issues Brooks 2 in London (Hennock 1979). -
Saffron Walden Buildings & Architects
SAFFRON WALDEN HISTORICAL JOURNAL The following article appears by permission and is the copyright of the Saffron Walden Historical Journal and the author. Fair dealing for the purposes of private study or non-commercial educational, archival or research purposes is freely allowed, but under no circumstances are articles or illustrations to be reprinted in any other publication, website or other media without permission. All rights reserved. It has not been possible to include all the original illustrations with the articles, but these can be seen in copies deposited at Saffron Walden Town Library. Enquiries re articles can be sent to [email protected] Some Saffron Walden Buildings and their Architects ©Bruce Munro Reprinted from: Saffron Walden Historical Journal No 5 Spring 2003 Saffron Walden’s many and remarkable old buildings include features of nearly every architectural period from Norman times until the present day. Unfortunately, we know little of the architects and builders who so skilfully created the early buildings, save perhaps for the parish church of St. Mary’s where John Wastell of Bury St. Edmunds, who died circa 1515, was master mason. The Church is interesting as being the work of one architect - carrying out an almost total rebuild - almost all other Essex churches, including Thaxted, evolved with different master masons Saffron Walden Buildings & Architects – Saffron Walden Historical Journal No 5 (2003) employed. Wastell it was who built the great fan vault of King’s College Chapel and who worked on Ely and Canterbury Cathedrals, Great St. Mary’s Church, Cambridge, amongst others. Much later Robert William Furze Brettingham (1750-1820) [grandson of Matthew Brettingham (1699-1769) who designed Shortgrove bridge] planned the great restoration of the parish church of 1790. -
Manchester's Modern Gothic in St Peter's Square St Peter's
Manchester’s Modern Gothic in St Peter’s Square St Peter’s Square, an open space at the centre of Manchester, is the sight of the Peterloo Massacre of 1819 (see here) and today it is dominated by the tram interchange stations. Until the early twentieth century, however, the square was commanded by a church, St Peter’s, designed by the then most fashionable London-based architect of the day: James Wyatt (1746–1813). Wyatt was responsible for constructing some of the most significant country houses of late-Georgian Britain, including William Beckford’s stupendous Fonthill Abbey, Wiltshire (Fig.1), and, far closer to Manchester, Heaton Hall (Fig.2; see here for an essay on the building by Emily Oldfield and me). <iframe src="https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d2374.449902609667 !2d- 2.24511288305093!3d53.4782906872258!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3! 1m2!1s0x487bb1c28baf4c47%3A0x128816f87a31840d!2sSt%20Peter's%20Square!5e0 !3m2!1sen!2suk!4v1582629374258!5m2!1sen!2suk" width="600" height="450" frameborder="0" style="border:0;" allowfullscreen=""></iframe> His architectural style was mixed: Wyatt worked in both the Gothic and what has been termed the Neoclassical modes (a particular reinterpretation of Classical architecture that became prevalent in eighteenth-century Britain following, and informed by, discoveries made at the archaeological discoveries of Pompeii and Herculaneum mid-century). Wyatt’s church, as illustrated in Fig.3, was clearly in the Neoclassical style: it was a building erected from 1788 in a fashionable mode by a prolific and highly desirable architect. Pulled down in 1907—long before buildings were protected by the listing mechanism of English Heritage (now Historic England)—it is memorialized by a cross made from Portland stone, dating to 1908 (Fig.4). -
Theodore John Baptiste Phyffers C.1821-76
Theodore John Baptiste Phyffers c.1821-76 http://www.victorianweb.org/sculpture/phyffers/index.html [c.1821] [born Leuvan (Louvan), Belgium] c1844 Wood carving, Palace of Westminster, London [19.07.1847] [marriage to Maria Colquohoun] [Westminster] [1849] [birth of son Theodore James Phyffers Benyon] [Chelsea] [31.08.1849] [birth of son Felix Phyffers] [Westminster] 1850 Bust of John Watkins, Esq (RA 1365) Address: 44 Arthur Street, Chelsea 1850 High Altar and reredos for A.W.N. Pugin for the Chapel of St Joseph, at the Cathedral Church of St Marie, Norfolk Row, Sheffield, architects John Grey Wightman and Matthew Ellison Hadfield (partnership until 1858). 1850 The first lesson of the Bible, sculptural relief, untraced 1850 Unidentified subject (bust) 1850 Unidentified subject, statue, untraced [30.03.1851] Census: occ. sculptor / stone carver Westminster RC Cathedral [Address: Holywell Street, Westminster (in-laws)] "This small and unpretentious building in Horseferry-road was erected in 1813… It was enlarged and beautified in 1852… The sculpture over the alter represents the Annunciation of our Lady, and is said to possess great artistic merit. The sculptor was Phyffers.” ['St John the Evangelist, Westminster: parochial memorials’, 1892] 1852 [04.02.1853] [birth of daughter Alice Phyffers] [St Pancras] 1854 Bust of H. S. Parkman, Esq (RA 1475) Address: Landsdowne Yard, Guildford Street Henry Spurrier Parkman (1814-1864), portrait painter, Bristol 1854 Bust of J. R. Clayon, Esq (RA 1484) Address: Landsdowne Yard, Guildford Street John Richard Clayton (1827-1913), stained glass artist, sculptor, architect. Trained by George Gilbert Scott and later in partnership with Alfred Bell (1832-1895).