Sharon Phelan / Christina Kubisch. Christina Kubisch, Voices Of

Total Page：16

File Type：pdf, Size：1020Kb

Sharon Phelan / Christina Kubisch. Christina Kubisch, Voices Of

Sharon Phelan / Christina Kubisch. Site for Christina Kubisch's sound installation in the National War Memorial Gardens, Dublin. Courtesy of the Goethe- Institute and Eugene Langan. Christina Kubisch, Voices of Memory at the Irish National War Memorial Gardens. 30 June 1916. The eve of the Battle of the Somme. 100 years later, a listening engagement. At the Irish War Memorial Gardens, the date marks the beginning of a long dedication to those who died. Overlooking the River Liffey, Christina Kubisch’s sound work emits from four speakers attached to a telegraph pole. Voices of Memory recalls over 40,000 soldiers’ names that rest in the Books of the Dead. A portrait of a nation. It is art to contemplate, as well as a memorial to the Irish lives lost in WWI. These gardens, designed by Sir Edwin Lutyens, were once overgrown and abandoned, a forgotten memorial. Now, an arcadian scene of leisurely tranquility. Passers amble by. Boat clubs line the opposite bank, and a paddling of ducks glide along the river’s edge. Repetition, repetition, then change. A man’s voice reads a list of names until they collide on top of each other in a dense, abstract layer. A pause, before the sounds of life on the river bed are brought to the surface through underwater field recordings. The wind erodes parts of the composition and carries them elsewhere. The remembering resumes. A blur of names. It is now a female voice. I am struck by the cadence and tonality of each acousmatic sound, their circadian rhythms oblivious to time and space, imbued with a humanity far removed from the rates of fire of the front-line trenches. Snatches of external conversations drift in. I leave one sound field for another. November marks the close of an already ephemeral memorial. Sharon Phelan is an artist, musician and researcher based in Dublin. Christina Kubisch, Voices of Memory (2016) A Riverside Sound Art Installation at the Irish National War Memorial Gardens, 30 June – 18 November 2016 .

Copy Link

Recommended publications

LTN Winter 2021 Newsletter
THE LUTYENS TRUST To protect and promote the spirit and substance of the work of Sir Edwin Lutyens O.M. NEWSLETTER WINTER 2021 A REVIEW OF NEW BOOK ARTS & CRAFTS CHURCHES BY ALEC HAMILTON By Ashley Courtney It’s hard to believe this is the first book devoted to Arts and Crafts churches in the UK, but then perhaps a definition of these isn’t easy, making them hard to categorise? Alec Hamilton’s book, published by Lund Humphries – whose cover features a glorious image of St Andrew’s Church in Sunderland, of 1905 to 1907, designed by Albert Randall Wells and Edward Schroeder Prior – is split into two parts. The first, comprising an introduction and three chapters, attempts a definition, placing this genre in its architectural, social and religious contexts, circa 1900. The second, larger section divides the UK into 14 regions, and shows the best examples in each one; it also includes useful vignettes on artists and architects of importance. For the author, there is no hard- and-fast definition of an Arts and Crafts church, but he makes several attempts, including one that states: “It has to be built in or after 1884, the founding date of the Art Workers’ Guild”. He does get into a bit of a pickle, however, but bear with it as there is much to learn. For example, I did not know about the splintering of established religion, the Church of England, into a multitude of Nonconformist explorations. Added to that were the social missions whose goal was to improve the lot of the impoverished; here social space and church overlapped and adherents of the missions, such as CR Ashbee, taught Arts and Crafts skills.
[Show full text]
Sir Edwin Lutyens Primary Helpsheet
Sir Edwin Lutyens Sir Edwin Lutyens (29th March 1869 -1st January 1944) was one of the leading British architects of the 20th century. He was known for adapting traditional architectural styles to the needs of the time. His works include houses, bridges and public gardens. He was one of the three principal architects appointed to the Imperial (now Commonwealth) War Graves Commission (IWGC) when the Commission was formed in 1917 designing many memorials and cemeteries in France and Belgium in the years following the end of World War I. He also designed a number of war memorials in the UK, including The Cenotaph in Whitehall. This helpsheet is designed to be used by primary teachers as background information on Sir Edwin Lutyens. There is also a set of Sir Edwin Lutyens fact cards which can be shared with pupils. Both this helpsheet and the fact cards can be used as part of WMT’s Art unit of work: Great artists and war memorials. Early life Lutyens was born in London, the ninth son and tenth child of Charles and Mary Lutyens who went on to have a total of thirteen children. As a child he suffered from rheumatic fever and as such was the only one of the boys in the family not to go to public school or university. He shared his sisters’ governess and received extra schooling from a much older brother in the holidays. While growing up in Thursley, Surrey Lutyens was able to follow his passion of looking at houses and watched all stages of the buildings in the local area going up.
[Show full text]
A Brief History of War Memorial Design
A BRIEF HISTORY OF WAR MEMORIAL DESIGN War Memorials in Manitoba: An Artistic Legacy A BRIEF HISTORY OF WAR MEMORIAL DESIGN war memorial may take many forms, though for most people the first thing that comes to mind is probably a freestanding monument, whether more sculptural (such as a human figure) or architectural (such as an arch or obelisk). AOther likely possibilities include buildings (functional—such as a community hall or even a hockey rink—or symbolic), institutions (such as a hospital or endowed nursing position), fountains or gardens. Today, in the 21st century West, we usually think of a war memorial as intended primarily to commemorate the sacrifice and memorialize the names of individuals who went to war (most often as combatants, but also as medical or other personnel), and particularly those who were injured or killed. We generally expect these memorials to include a list or lists of names, and the conflicts in which those remembered were involved—perhaps even individual battle sites. This is a comparatively modern phenomenon, however; the ancestors of this type of memorial were designed most often to celebrate a victory, and made no mention of individual sacrifice. Particularly recent is the notion that the names of the rank and file, and not just officers, should be set down for remembrance. A Brief History of War Memorial Design 1 War Memorials in Manitoba: An Artistic Legacy Ancient Precedents The war memorials familiar at first hand to Canadians are most likely those erected in the years after the end of the First World War. Their most well‐known distant ancestors came from ancient Rome, and many (though by no means all) 20th‐century monuments derive their basic forms from those of the ancient world.
[Show full text]
Urban Redevelopment.Indb
Wildman, Charlotte. "The Cathedral That Never Was?." Urban Redevelopment and Modernity in Liverpool and Manchester, 1918–39. London: Bloomsbury Academic, 2016. 167–189. Bloomsbury Collections. Web. 29 Sep. 2021. <http://dx.doi.org/10.5040/9781474257398.0016>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 01:45 UTC. Copyright © Charlotte Wildman 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 6 Th e Cathedral Th at Never Was? Th e Catholic Church in Liverpool also responded to urban redevelopment with ambition and innovation. As architectural expert Charles Reilly announced to readers of the New York Times in 1930, ‘ Liverpool is starting to build a second and even greater cathedral. Her new project, indeed, calls for the greatest cathedral in the world next to St Peter ’ s at Rome. ’1 Designed by Edwin Lutyens, ‘ arguably the greatest British architect of the twentieth century, ’ the planned Catholic cathedral, named the Metropolitan Cathedral of Christ, was intended to be second largest in the world and expected to cost £ 3 million.2 Th e impact of the cathedral on the city and beyond was highly anticipated: ‘ I see the cathedral then, like a rainbow across the skies radiating the true and the good ’ , wrote one prominent member of Liverpool Archdiocese.3 For the Archdiocese and, in particular for the cathedral ’ s pioneer, Archbishop of Liverpool Richard Downey (1881 – 1953), it represented an opportunity to transform the way in which Catholicism was seen both in Britain and beyond.
[Show full text]
Digital Re-Analysis of Historic Works of Architecture
DIGITAL RE-ANALYSIS OF HISTORIC WORKS OF ARCHITECTURE Dr Nick Webb University of Liverpool School of Architecture Digital Historic modelling architecture Architectural critique Digital re-analysis of historic works of architecture Methodology CASE STUDY unexpectedoutcomes found Re-analysisbased on Research primary and secondary data Generate lines of enquiry Create appropriate representations Serendipity Investigate lines of enquiry Re-analysisagainst identifiedlines of enquiry Analyse and review representations The Architecture of Sir Edwin Lutyens Volume III (Buter, 1950) Liverpool Metropolitan Cathedral (Sir Edwin Lutyens) Liverpool Metropolitan Cathedral Designed by Sir Edwin Lutyens; the cathedral would have been one of the largest places of worship in the world. Construction began in 1933 but was suspended in 1941 due to wartime restrictions. In 1959 an architectural competition was announced to design a cathedral incorporating the crypt; won by Sir Frederick Gibberd. Why Liverpool Cathedral? A large amount of literature has been written about the design therefore generating of lines of enquiry is possible. The cathedral design is significant to the history of Liverpool. Ease of access to archive information and other primary data. Generating lines of enquiry 1) Development of design from 1929 to 1934. 2) Internal geometry of the cathedral. 3) Lighting of the cathedral. 4) Geometric comparisons to the Thiepval Memorial. 5) Lutyens’ original crypt design compared to Scott’s version. 6) Counterfactual history. 7) Auralisation of the cathedral organ. Create appropriate representations Ambiguity and uncertainty Line of enquiry: geometry Design is based on a series of interlocking arches that increase in size and interlock. The interior has a cavernous feel that suggests the arches have been subtracted from an overall form.
[Show full text]
Architectural Design Competition for a Commemorative Bridge at Irish National War Memorial Garden
Architectural Design Competition for a Commemorative Bridge at Irish National War Memorial Garden The Commissioners of Public Works in Ireland are seeking proposals from an architect-led team for the design of a bridge comprising of 4 elements, namely: 1. A new Pedestrian and Cycle Bridge which will span the River Liffey, and connect the war memorial gardens and an existing cycleway, 2. be a formal ceremonial entrance at the Chapelizod Road side of the river, and, 3. have an open Plaza space linking this entrance to the bridge for ceremonial occasions, 4. suitably land formed and landscaped, to be located at The Irish National War Memorial Gardens (INWMG) & lands to north of the River Liffey at the UCD Boat Club, Islandbridge, Dublin. The INWMG, designed by Sir Edwin Lutyens, commemorates the estimated 49,400 Irish people who died during the First World war 1914-18. Lutyens’ original concept design for the gardens included a three-arched bridge spanning the Liffey, linking the Gardens to Chaplelizod Road and further on to the Phoenix Park. Although the INWMG were constructed during Lutyens lifetime, the powerful symbolism of the river, its crossing, and the connectivity with the Phoenix Park are yet to be realised. Lutyens clearly considered the continuous flow of the river as being the age-old metaphor for life, which he juxtaposed against the solemn static elements of the Gardens. The current access point to the INWMG is confusing and ill defined. Many Dubliners have trouble locating the gardens. The Bridge and formal entrance to the gardens will facilitate a greater number of visitors to the Gardens by virtue of its prominence and increased significance.
[Show full text]
The Villa and the Country House
Deakin Research Online Deakin University’s institutional research repository DDeakin Research Online Research Online This is the published version of: Rollo, John 2008, Between traditions : the villa and the country house, in SAHANZ 2008 : History in practice : 25th International Conference of the Society of Architectural Historians Australia and New Zealand, Society of Architectural Historians, Australia and New Zealand, [Geelong, Vic.], pp. 1-29. Available from Deakin Research Online: ttp://hdl.handle.net/10536/DRO/DU:30018110 Every reasonable effort has been made to ensure that permission has been obtained for items included in DRO. If you believe that your rights have been infringed by this repository, please contact [email protected] Copyright : 2008, Society of Architectural Historians Australia & New Zealand Between Traditions: The Villa and the Country House John Rollo School of Architecture and Building, Deakin University, Geelong, Australia. Abstract Sir Leslie Martin wrote in 1983, “The formal composition used by Lutyens is something totally related to the problems and culture of his time”. To reinforce this point Martin included a plan of Heathcote (1905) next to an illustration of one of Palladio’s final commissions, the Villa Rotonda (1566). Comparing the planning and symmetry strategies of the two architects, Martin was able to demonstrate how Heathcote embodied an eclectic yet fundamental link between two traditions - the irregularity of an Edwardian planning arrangement, and its containment within the symmetry demanded by the “full classical orchestra of a Doric order” (Hussey, 1950 p128). “Once inside the balanced mass of the exterior, the visitor’s movement through the building is controlled by volumes and composition of a totally different kind” 1.
[Show full text]
Irish National War Memorial Committee Archive: Correspondence
RDFA/020: Irish National War Memorial Committee Archive: Correspondence Irish National War Memorial Committee Archive: Correspondence Introduction: The Irish National War Memorial Committee was founded in the summer of 1919. Its first President was the Lord Lieutenant of Ireland, Field-Marshal Viscount French of Ypres (who gave the first donation to the Committee of £100) following a meeting held in the Vice Regal Lodge. By Aug 1919 the Committee fund stood at just over £13,000. The office was originally at 52 Dawson Street, Dublin but later moved to 102 Grafton Street, Dublin. The Committee under such high profile and dedicated public servants as Sir Andrew Jameson eventually contracted Sir Edward Lutyens to design a War Memorial Gardens at Longmeadows, Islandbridge, Dublin which now stands as one of the finest such Memorials in Europe. Ref. The Irish Times, 30 Aug 1919, p.5. The Irish National War Memorial Committee Archive was donated to the Royal Dublin Fusiliers Association by the Royal British Legion, Republic of Ireland Branch. This donation was facilitated by Patrick Hugh Lynch, historian of The Irish Soldiers and Sailors’ Land Trust. The collection is held with the RDFA Archive at Dublin City Library & Archive, 138-144 Pearse Street, Dublin 2. Archival Organisation: There are 28 Folders largely containing correspondence, and a small number of legal documents such as Counsel Opinions. Much of the correspondence was generated by Miss Hermione G. Wilson (later Mrs. Lytton-Wilson) who was Secretary to the Committee. The documents have been foldered in chronological order: 1926 1928 1930 1931 1933 1934 1935 1936 1937 1938 1939 1940 1941 1942 1943 1944 1945 1946 1948 1951 1953 1954 1956 1957 1958 1959 1986 Undated* *Undated and unsorted loose leaves – mostly typescript correspondence and some envelopes.
[Show full text]
Télécharger Un Extrait
Frank Rambert GARDENS OF WAR BRITISH CEMETERIES ON THE WESTERN FRONT GARDENS OF WAR BRITISH CEMETERIES ON THE WESTERN FRONT After five years of conflict, the Great War is over. The British do not repatriate their soldiers who have died on French soil, neither do they gather together their cemeteries, leaving them instead wherever the war has killed. There are 967 of these cemeteries still present today, revealing the history and geography of the conflict and delineating in the fields the frontline which has now disappeared on a territory re-conquered by agricultural life. British cemeteries are gardens: trees and flowers gather around white headstones laid on impeccable lawn and around the visitors’ shelter. Each cemetery is a piece of England laid on foreign soil. Designed by the greatest architects of the time, such as Edwin Lutyens and Charles Holden, their architectural quality is exceptional. Gardens of War invites us to discover these unique places and approaches them in two ways: as a project, based on archive documents and testimonies from the main participants in this vast enterprise, including politicians, diplomats, and above all, architects; but also from the visitor’s point of view upon discovering the cemeteries, travelling along the roads linking them together and rendering impressions through sketches, photographs and drawings, as closely as possible to the experience of senses and emotions. This book talks about humanity, revealed by these stigmata left behind by an extraordinary event in places that have since been stripped of their ordinariness. We are moving over land marked by imprints, from the apparently tenuous traces left buried by war to those revealed by cemeteries.
[Show full text]
The Stones of London's War Memorials
Urban Geology in London No. 23 The Stones of London’s War Memorials ‘If I should die, think only this of me; That there’s some corner of a foreign field That is forever England’ The Soldier, Rupert Brooke (1887-1915) Memorial at the Tower of London for the centenary of the outbreak of WWI: 'Blood Swept Lands and Seas of Red' by ceramicist Paul Cummins. The opening lines of Rupert Brooke’s famous poem (above) illustrates muCh of the sentiments assoCiated with the design of war memorials and war graves. It has beCome traditional, on the most part, for stones representing the soldiers’ Countries of origin to be used in memorials ConstruCted to Commemorate them. For example, the war memorials commemorating the British Forces killed during WWI in FranCe and Belgium, such as Thiepval and the Menin Gate, are built from briCk, with piers, vaults, Columns and the panels bearing the insCriptions of names in Portland Stone. As we will see below, stones have been imported from all over the World to Commemorate the soldiers from those Countries who fought in the European theatres of the first half of the 20th Century. Indeed there are Corners of foreign fields, or in faCt London, that are forever Australian, Canadian or Maltese. I am predominantly foCusing on memorials to WWI and WWII. Many of the War Memorials and their stones catalogued below have been previously desCribed in other Urban Geology in London Guides. These inClude the memorials in the vicinity of Hyde Park Corner (Siddall & Clements, 2013), on the ViCtoria Embankment (Siddall & Clements, 2014) and the Malta Memorial near the Tower of London (Siddall, 2014).
[Show full text]
Architects, Designers, Sculptors and Craftsmen from 1530
ARCHITECTS, DESIGNERS, SCULPTORS AND CRAFTSMEN FROM 1530 H-P HADFIELD, Charles (1840–1916) and Matthew (1812–1885) see also Hadfield Cawkwell Davidson Howell, P., ed. 1980, 1982 Letters from J.F. Bentley to Charles Hadfield, Architectural History 23, 95–137; 25, 65–97 HADFIELD CAWKWELL DAVIDSON Anon. 1984 150 Years of Architectural Drawings: Hadfield Cawkwell Davidson, Sheffield, 1834–1984 (catalogue of exhibition at the Mappin Art Gallery, Sheffield) HANSOM, Joseph (1803–82) Edwards, T. 1982 Architect of catholic tastes, Country Life. 172 (2 September), 690–1 Evinson, D. 1966 Joseph Hansom, M.A. report, Courtauld Institute of Art, University of London Evinson, D. 1981 Joseph Hansom, Building 240 (10 April), 28–30 HARDWICK, P. (1792–1870) and P.C. (1822–92) Hobhouse, H. 1976 Philip and Philip Charles Hardwick: an architectural dynasty, Seven Victorian Architects, ed. J. Fawcett, 32–65 HARDWICK, Thomas (1752–1829) Friedman, T. 1998 Thomas Hardwick Junior’s Early Churches; Georgian Group Journal Waterfield, G. 1975 Thomas Hardwick, 1752–1829, M.A. report, Courtauld Institute of Art, University of London HARE, C.G., see Bodley, G.F. HARGRAVE, Jeremiah (c.1726–86) and Joseph (c.1754–1802) Hall, I. 1976 Jeremiah and Joseph Hargrave of Hull: architects, carvers, furniture makers, Furniture History 12, 51–8 HARRIS, E. Vincent (1876–1971) Royal Gold Medallist, 1951: E. Vincent Harris, 1951 R.I.B.A. Journal 58 (February), 149–52 HARRISON, Thomas (1744–1829) Chester Museum 1977 The Modest Genius (catalogue of exhibition) Rudolf, M. 1992 Thomas Harrison and the Structural Department of the Art, The Georgian Group Journal, 68–78 Ockrim, M.
[Show full text]
The Commonwealth War Graves Commission Extract Compiled from Cwgc.Org
Assembly and Class information sheets www.jewsfww.london The Commonwealth War Graves Commission Extract compiled from cwgc.org The Commonwealth War Graves Commission owes its existence to the vision and determination of one man - Sir Fabian Ware. Neither a soldier nor a politician, Ware was nevertheless well placed to respond to the public’s reaction to the enormous losses in the war. At 45 he was too old to fight but he became the commander of a mobile unit of the British Red Cross. Saddened by the sheer number of casualties, he felt driven to find a way to ensure the final resting places of the dead would not be lost forever. His vision chimed with the times. Under his dynamic leadership, his unit began recording and caring for all the graves they could find. By 1915, their work was given official recognition by the War Office and incorporated into the British Army as the Graves Registration Commission. Royal Recognition Ware was keen that the spirit of Imperial cooperation evident in the war was reflected in the work of his organisation. Encouraged by the Prince of Wales, he submitted a memorandum to the Imperial War Conference. In May 1917, the Imperial War Graves Commission was established by Royal Charter, with the Prince serving as President and Ware as Vice-Chairman. The Commission’s work began in earnest after the Armistice. Once land for cemeteries and memorials had been guaranteed, the enormous task of recording the details of the dead began. By 1918, some 587,000 graves had been identified and a further 559,000 casualties were registered as having no known grave.
[Show full text]