DOCSLIB.ORG

{PDF EPUB} Architecture, Mysticism and Myth by Lethaby WR

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
{PDF EPUB} Architecture, Mysticism and Myth by Lethaby WR Read Ebook {PDF EPUB} Architecture, Mysticism and Myth by Lethaby W. R. (William Richa 1857-1931 Architecture, Mysticism and Myth [1857-1931, Lethaby W. R. (William Richa] on Amazon.com. *FREE* shipping on qualifying offers. Architecture, Mysticism and Myth British architect WILLIAM RICHARD LETHABY (1857-1931) was the first professor of design at the Royal College of Art. He also wrote Greek Buildings (1908), Mediaeval Art (1912), and Architecture (1912).Cited by: 19Author: William LethabyReviews: 10Publish Year: 1974Architecture, mysticism and myth : Lethaby, W. R. (William ...https://archive.org/details/architecturemyst00lethApr 13, 2016 · Architecture, mysticism and myth Item Preview remove-circle ... Lethaby, W. R. (William Richard), 1857-1931. Publication date 1892 Topics Architecture, Mythology ... from an architect's point of view, the basis of certain ideas common in the architecture of many lands and religions, the purposes behind structure and form which may be called the ...Pages: 304People also askWho is William Richard Lethaby?Who is William Richard Lethaby?William Richard Lethaby (18 January 1857 – 17 July 1931) was an English architect and architectural historian whose ideas were highly influential on the late Arts and Crafts and early Modern movements in architecture, and in the fields of conservation and art education .William Lethaby - Wikipedia Oct 27, 2009 · Architecture, mysticism and myth Item Preview > remove-circle Share or Embed This Item ... Lethaby, W. R. (William Richard), 1857-1931. Publication date 1892 Topics Architecture ... the basis of certain ideas common in the architecture of many lands and religions, the purposes behind structure and form which may be called the esoteric ...Pages: 300(PDF) Architecture, Mysticism and Myths in the Works of ...https://www.researchgate.net/publication/282831748...Mysticism, and Myth» w as issued and w ent out to the world in 1891. It appeared t o be th e most consi derable evidence of those new outlooks on architecture wh ich were outspread in th e late 19 Abstract and Figures This article deals with the art of a prominent English architect and architectural theorist - William Richard Lethaby. His theoretical outlook on architecture has been... This delightful book describes the symbolism of real-world architecture, as well as architecture described in fiction, myth and folklore. Lethaby believed that architecture reflected the macrocosm. He speculated that many of the seemingly ornamental details of classical buildings actually represented aspects of the land, the sea and the … Architecture, Mysticism and Myth, by W.R. Lethaby [1892], full text etext at sacred-texts.com Mar 21, 2019 · By W.R. Lethaby Introduction from Architecture, Mysticism and Myth [1892]. Invention, strictly speaking, is little more than a new combination of those images, that have been previously gathered and deposited in the memory: nothing can come of nothing: he who has laid up no materials can produce no combinations.’—REYNOLDS, Discourse II.. THE history of architecture, as usually written ... This article deals with the art of a prominent English architect and architectural theorist - William Richard Lethaby. His theoretical outlook on architecture has been considered herein. His fundamental outlook – the book ‘Architecture, Mysticism, and Myth’ - has been analyzed. His innovative outlook, as well as the concept development regarding study of art in the 20th century described ...Cited by: 3Publish Year: 2015Author: Vasiliy Goryunov, Tatjana Konjkova, Vera Murgul, Nikolay VatinArchitecture, Mysticism and Myths in the Works of ...https://www.sciencedirect.com/science/article/pii/S1877705815018019Jan 01, 2015 · This article presents an analysis of the book ‘Architecture, Mysticism, and Myth’ of architect William Richard Lethaby. The book deals with a number of interesting historical fragments, the author's erudition goes without any doubts, but it makes a dual impression for a today's reader and cannot be considered to be a scientific source. This 1891 work is a masterpiece of architectural symbolism and an essential foundation for understanding and appreciating "classical" design.British architect WILLIAM RICHARD LETHABY (1857 … “The world is like the eyeball of a man; the white is the ocean that surrounds the world, the black is the world itself, and the pupil is Jerusalem, and the image in the pupil is the Temple.” (From William Lethaby’s Architecture, Mysticism and Myth.) The temple should be founded on a sacred site. This 1891 work is a masterpiece of architectural symbolism and an essential foundation for understanding and appreciating "classical" design. British architect WILLIAM RICHARD LETHABY (1857-1931) was the first professor of design at the Royal College of Art. He also wrote Greek Buildings (1908), Mediaeval Art (1912), and Architecture (1912).Reviews: 12Format: PaperbackAuthor: W. R. LethabyARCHITECTURE, MYSTICISM AND MYTH By Lethaby W. R. (william ...https://www.ebay.com/c/167611461Find many great new & used options and get the best deals for ARCHITECTURE, MYSTICISM AND MYTH By Lethaby W. R. (william Richa 1857-1931 *NEW* at the best online prices at eBay! Free shipping for many products! The biographers refer the beginning of the Lethaby’s research activity to 1885. His first book «Architecture, Mysticism, and Myth» was issued and went out to the world in 1891. It appeared to be the most considerable evidence of those new outlooks on architecture which were outspread in the late 19th and early 20th centuries. Before Architecture Mysticism and Myth W. R. Lethaby. Available in PDF, epub, and Kindle ebook. This book has 220 pages in the PDF version, and was originally published in 1892. Description. Fully illustrated. Architecture Mysticism And Myth looks at the symbolism of architecture, both in real life and in myth. William Richard Lethaby. Forgotten Books. ... Other editions - View all. Architecture, Mysticism and Myth W. R. Lethaby No preview available - 2017. Architecture, Mysticism and Myth (Classic Reprint) W. R. Lethaby No preview available - 2017. Architecture, Mysticism and Myth W R 1857-1931 Lethaby No preview available - 2018. Backemeyer, Sylvia and Theresa Gronberg, eds. W.R. Lethaby, 1857-1931: Architecture, Design and Education. London: Lund Humphries, 1984. (Catalogue of an exhibition held by the Central School of Arts and Crafts and the Cheltenham Art Gallery and Museum, as a "long overdue tribute" to this "forceful disciple of Pugin, Ruskin and William Morris," 7). The first and perhaps best known was Architecture, Mysticism and Myth (1891), which baffled many of its earliest readers, including the Times reviewer in his "Books of the Month" column: "His insight is so esoteric that, to plain people, its deliverances are simply unintelligible" (4). But it but proved seminal within the profession itself. This classic explores the symbolism of classical architecture. A milestone in relating mysticism to design, it shows the correlation between mythology and the design of St. Paul's Cathedral, the Taj Mahal, the Palace of Versailles, and other architectural masterpieces. This delightful book describes the symbolism of real-world architecture, as well as architecture described in fiction, myth ... Jun 03, 2020 · Architecture, Mysticism and Myth, by W R Lethaby (Architectural Press, 1974) William Richard Lethaby: His Life and Work 1857-1931, by Godfrey …Author: Giles WorsleyArchitecture, Mysticism and Myth: Sacred Geometry ...https://www.amazon.co.uk/Architecture-Mysticism...Dec 22, 2007 · Buy Architecture, Mysticism and Myth: Sacred Geometry (Forgotten Books) by Richard Lethaby, William (ISBN: 9781605064260) from Amazon's Book Store. Everyday low prices and free delivery on eligible orders.Reviews: 12Author: William Richard LethabyWilliam Lethaby - Wikipediahttps://en.wikipedia.org/wiki/William_LethabyWilliam Richard Lethaby (18 January 1857 – 17 July 1931) was an English architect and architectural historian whose ideas were highly influential on the late Arts and Crafts and early Modern movements in architecture, and in the fields of conservation and art education.Born: 18 January 1857, Barnstaple, Devon, EnglandBuildings: Avon Tyrell House; Melsetter HouseDied: 17 July 1931 (aged 74), Bayswater, …Occupation: Architect[PDF] William Richard Lethaby | Download Full eBooks for Freehttps://www.itseyeris.com/book/william-richard-lethabyWilliam Richard Lethaby: His Life and Work 1857-1931 focuses on the masterpieces, achievements, and legacy of Lethaby in architecture. The book first underscores the early life of Lethaby and his humble beginnings in the field of architecture. The Architect – William R Lethaby William Richard Lethaby (1857 – 1931) W illiam Richard Lethaby was born in 1857 in Barnstaple, Devon. Whereas most architects of the day came from the middle or upper classes, Lethaby’s origins were altogether more humble, his father being a gilder and carver. Architecture, Mysticism and Myth. London: Percival & Co., 1892. First Edition Thus. Hardcover. Octavo. x + 272pp. Brown cloth with printed paper title label to spine, frontis w/ tissue guard, with b&w illustrations by the author. The author, an architect, sets forth the esoteric principles behind structure and form in architecture. W.R. Lethaby : architecture as process : implications for a methodology of history and criticism by Charlotte Vestal Brown ( Book ) Niluo zi xuan ji by Niluo ( Book ) William Richard Lethaby, 1857-1931. Discount prices on books by W R Lethaby, including titles like
Load more

Recommended publications
  • In William Lethaby's Architecture, Mysticism and Myth (1891)
    Deborah van der Plaat The Significance of the "temple idea" in William Lethaby's Architecture, Mysticism and Myth (1891) Nineteenth-Century Art Worldwide 3, no. 1 (Spring 2004) Citation: Deborah van der Plaat, “The Significance of the ‘temple idea’ in William Lethaby's Architecture, Mysticism and Myth (1891),” Nineteenth-Century Art Worldwide 3, no. 1 (Spring 2004), http://www.19thc-artworldwide.org/spring04/282-the-significance-of-the-qtemple- ideaq-in-william-lethabys-architecture-mysticism-and-myth-1891. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2004 Nineteenth-Century Art Worldwide Plaat: The Significance of the "temple idea" in William Lethaby‘s Architecture, Mysticism and Myth (1891) Nineteenth-Century Art Worldwide 3, no. 1 (Spring 2004) The Significance of the "temple idea" in William Lethaby's Architecture, Mysticism and Myth (1891) by Deborah van der Plaat In Architecture, Mysticism and Myth (1891), the English architect and theorist William Lethaby (1857-1931) developed a syncretic theory of modern architectural invention in which the subjective world of the 'imagined' is reconciled with the objective or 'known'. Lethaby's thesis was motivated by a desire to work the contrasts generated from John Ruskin's (1819-1900) Victorian imagination into a systematic theory of design. The vehicle which enabled this reconciliation was the temple idea, an architectural construct demonstrating the two ways of seeing inherent in mythic man's [sic] engagement with nature and its subsequent translation into the architectural form.
    [Show full text]
  • Arts and Crafts Movement
    Arts and Crafts movement "Artichoke" wallpaper, by John Henry Dearle for William Morris & Co., circa 1897 ((Victoria and Albert Museum).). The Arts and Crafts movement was a British and American aesthetic movement occurring in the last years of the 19th century and the early years of the 20th century.. Inspired by the writings of John Ruskin and a romantic idealization of the craftsman taking pride in his personal handiwork, it was at its height between approximately 1880 and 1910.. It was a reformist movement that influenced British and American architecture,, decorative arts,, cabinet making,, crafts, and even the "cottage" garden designs of of William Robinson or or Gertrude Jekyll. Its best-known practitioners were William Morris,, Charles Robert Ashbee,, T. J. Cobden Sanderson,, Walter Crane,, Nelson Dawson,, Phoebe Anna Traquair ,, Herbert Tudor Buckland,, Charles Rennie Mackintosh,, Christopher Dresser ,, Edwin Lutyens,, Ernest Gimson,, William Lethaby,, Edward Schroeder Prior ,, Frank Lloyd Wright,, Gustav Stickley,, Charles Voysey,, Christopher Whall and artists in the Pre-Raphaelite movement.. In the United States, the terms American Craftsman, or Craftsman style are often used to denote the style of architecture, interior design, and decorative arts that prevailed between the dominant eras of Art Nouveau and Art Deco, or roughly the period from 1910 to 1925. Contents [[hide]] •• 1 Origins and key principles •• 2 History of the movement •• 3 Influences on later art oo 3.1 Europe oo 3.2 United States •• 4 References •• 5 External links Origins and key principles The Oregon Public Library in Oregon, Illinois, U.S.A. is an example of Arts and Crafts in a Carnegie Library.
    [Show full text]
  • The Recommended Reading Lists of Alfred Lawrence Kocher and the Beauty of Utility in 1920S America
    2020 volume 17 | issue 1 In Search of a Cultural Background: The Recommended Reading Lists of Alfred Lawrence Kocher and the Beauty of Utility in 1920s America Mario Canato Abstract The modernist architect and critic, Alfred Lawrence Kocher, proposed and commented on many bibliographical ref- erences in the Architectural Record in the years 1924-25. Recent studies on American architecture of the 1920s and 1930s have recognized the peculiar character of modernism in the United States and have gone in search of its cultural and social roots. However, Kocher’s extensive lists have so far been completely overlooked. They were based for the most part on the correspondence he exchanged with a number of American and British architects and George Bernard Shaw: he had sent to them a circular letter, asking for recommendations on texts on background literature that a young architect should know. The unpublished correspondence that Kocher had with Louis Sullivan and the 19 texts on “Aesthetics and Theory of Architecture” are analyzed in particular by the author. Although from 1927 onwards Kocher became a passionate supporter of European rationalist architecture, his bibli- ographies cannot be considered a conscious foundational literature on modernism and modernity. They rather give an idea of the ‘cultural trunk’ on which the discussion on modern European architecture was going to be grafted; they help to illuminate the scene on which American architects moved in the mid-1920s. In some of the texts, the pragmatic notion of utility shines through, as − sometimes connectedly − does the concept of a creative act as a free, ‘natural’ act, which derived from American transcendentalism.
    [Show full text]
  • The Victorian Period
    THE VICTORIAN PERIOD When King William IV died in the winter of 1837 his niece Victoria was to be crowned Queen at the age of 19. Victoria was born in 1819 the daughter of Edward, Duke of Kent, George III ‘s fourth son (Bly1971) , she married Prince Albert in 1840 . Little did she know she was about to embark on one of the longest and most auspicious reigns of English regal history. There are many reasons for this , on a political level ( Collins 1979 ) states “… her sense of vocation did much to restore the prestige of the British monarchy” . On a technological level this was a period in which heavy engineering was to flourish, “ …the harnessing of steam, gas and electricity, of the development of travel, large hotels , postage and newspapers , telegraphs , tramcars and underground railways (Bly1971). Victoria came to the throne just after it was recommended that the Palace of Westminster should be redesigned in the now fashionable Gothic and Elizabethan styles. Augustus Welby Pugin helped to design these new Houses of Parliament along with Sir Charles Barry between 1836 and I843 level (Collins 1979)(Price 1978). Railway stations colleges, and town halls rose up all over the country with gothic style arches and pierced wrought iron work. This new “gothic mania” (Price 1978) found its main outlet in churches. “The Rector of Buckland in Devon went so far as to pull down the genuine medieval church in his parish and replace it with a new, very ornate, very Gothic structure which was consecrated in 1863” (Price 1978). Architects were still the main impetus behind furniture design as they had been since about 1750 (Hayward 1936).
    [Show full text]
  • Church Welcome Guide
    Welcomne Tfo tllhe lParflsh Churehr ell St" Jamnes anol Sti. Basflllu J,R'emlhamn" '...a solid, prosperous building without extrsvagant show, but with considerable imagination.' (Pevsner et al, 2002). Background sons Major James L. and Capt. H. Basil were killed in the Great War, l9l4-18. The church also serves, therefore, as a war mernorial and in light ofthis, the austere styling, which some people find rather foreboding, begins to make perfect sense. This is not the whole story to the Church's design, however, as you'll see in your tour. Much of the detailing of the building is heavily influenced by the Arts and Crafts Movemen! far The Church of St. James and St. Basil more strongly here than in any other was designed in the early 1920s by building by this particular architect, so architect E.E. Lofting, a pupil and why might this be the case? assistant of the well-known and prolifi c late-l9th/early-20th Century Much of the reason is that the desigr architect Temple Lushington Moore. was a collaborative work with George The lofty, uncluttered feel ofthe Jack, one ofthe principle desigrers church interior certainly seems to echo associated with Morris and Co, and a Temple Moore's own work (who also significant figure ofthe Arts and crafts designed several double naved movement. The Ads and Crafts churches like St James and St Basil). Movemen! spearheaded by figures At the time of Lofting's commission, such as William Morris is mostly however, he was also assistant thought of in terms of its reaction to surveyor at Westminster Abbey under the soulless machine-made excesses of another well-known mchitect of the the Victorian er4 6n, it was also a time, and the William Lethaby exterior celebration of the beauty and treatment well might have been usefulness of hand-made artefacts.
    [Show full text]
  • Social History Following Hot on the Heels of the Aesthetic Movement
    THE BRITISH arts & Craft Movement Social history Following hot on the heels of the Aesthetic Movement, Arts & Crafts Style was a socially progressive art and design movement spearheaded by William Morris, which went on to gather strength in the Arts and Crafts workshops of the Cotswolds and the industrial garden cities of Port Sunlight & Bournville in the early 20th century. Where Aestheticsim was ‘art for arts sake’, the Arts & Crafts Movement was founded on socialist principles. Its pioneers championed the revival of traditional craftsmanship and good quality materials. Arts & Crafts designers believe that individually crafted wares were integral to good interior design and should be both useful as well as pleasing to the eye. An attempt to reform design and decoration as a stand against the ‘sham’ furnishings displayed at the Great Exhibition, Morris and his partners used natural materials, good craftsmanship, simple forms and organic shapes to create their pared back, honest look. A short-lived movement, Arts & Craft style clearly differentiated itself from the historical reproductions of the early Victorian era, with its botanical influences underpinning the sinuous lines of Art Nouveau. Key Dates 1861 Morris, Marshall & Faulkner established (later Morris & Co) 1875 Morris & Co relocates to London 1881 Morris & Co moves to Merton Abbey and the designs take on a more exotic taste 1883 Arthur Lazenby opens Liberty, the retail emporium 1887 Arts and Crafts Exhibition Society founded by Walter Crane 1888 Ashbee forms the Guild of Handicraft in East London 1893 Building starts Bournville, industrial garden city for Cadbury 1896 Wiiliam Morris dies 1899 Building starts at Port Sunlight, Merseyside, industrial garden city for Lever Brothers 1902 The Guild of Handicraft moves to the Cotswolds 1903 First Flight by the Wright Brothers 1914 World War I arts & Craft Movement 1860-1910 Architecture Arts & Craft architecture was a style that rebelled against industrialization and urged for a return to craftsmanship.
    [Show full text]
  • The Design Philosophy of Gummer and Ford
    Proceedings of the Society of Architectural Historians, Australia and New Zealand 30, Open Papers presented to the 30th Annual Conference of the Society of Architectural Historians, Australia and New Zealand held on the Gold Coast, Queensland, Australia, July 2-5, 2013. http://www.griffith.edu.au/conference/sahanz-2013/ Cameron Moore, “The Design Philosophy of Gummer and Ford” in Proceedings of the Society of Architectural Historians, Australia and New Zealand: 30, Open, edited by Alexandra Brown and Andrew Leach (Gold Coast, Qld: SAHANZ, 2013), vol. 2, p 487-497. ISBN-10: 0-9876055-0-X ISBN-13: 978-0-9876055-0-4 The Design Philosophy of Gummer and Ford Cameron Moore Griffith University Gummer & Ford was among New Zealand’s most prominent architectural practices during the 1920s and 1930s. The practice started operations in 1923 and closed their doors in 1961 when both founding partners retired. They were responsible for a number of important buildings in the New Zealand architectural landscape. The writings of C. Reginald Ford have some received critical attention, and indeed his business and organisational acumen has been suggested by Peter Wood as the lasting legacy of the practice of Gummer and Ford. This paper attempts to extend Wood’s argument to include the writing of William Gummer, the firm’s principal designer, to shed light on its design philosophy. In 1914 Gummer expresses his design philosophy in “The Study of Architecture, an Address to Students.” Under the heading The Art of Reason, he gives us his design philosophy in a
    [Show full text]
  • Model of the Advancement of Architectural Theory"
    RICE UNIVERSITY "MODEL OF THE ADVANCEMENT OF ARCHITECTURAL THEORY" by TIMOTHY F. WILLIAMS A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARCHITECTURE APPROVED, THESIS COMMITTEE: Professor and Dean Anderson Todd Professor HOUSTON, TEXAS ABSTRACT The thesis presents a framework for addressing the corpus of architectural theory and its conceptual evolution. Part I outlines a general description of the functions of architecture according to five "perspectives" - precedent, social and economic, perception, climate and physiography, and technology - that together comprise apparent preoccupations of architectural theory. Here, the assumption is that architecture is both a functional synthesis of these multi¬ farious perspectives, and a reconcliation of objective and subjective polarities found within each perspective. Part II sketches a model of the process by which the structure of these perspectives changes in response to external cultural and internal professional influences. In this process advancement proceeds formally, from a critical appraisal of preceeding theoretical approaches, toward programmes designed to solve general classes of problems. Subsequently, when formalism becomes dogmatic, attention is once more directed toward concrete problems, and upon a critique or revision of preceeding programmes the process recommences. ACKNOWLEDGEMENTS I would especially like to thank Professor Peter Rowe, whose diligence and enthusiasm never ceased to amaze me, Professor Anderson Todd, for lending a wise
    [Show full text]
  • Late Victorian Aesthetic Researches in John Ruskin's
    125 Seeking Authenticity: Late Victorian Aesthetic Researches in John Ruskin’s approach of the St. Mark’s Campanile in Venice and William Lethaby’s Design for the Eagle Building in Birmingham (1851-1901) David Lamoureux Abstract: The two artefacts described and contrasted here are John Ruskin’s 1851 description of the St. Mark’s Campanile in Venice and the facade of William Lethaby’s 1901 Eagle Building in Birmingham. Both Ruskin’s description and Lethaby’s facade are part of a common search for authenticity realized in the light of criticisms of industrialization in the late nineteenth century. Lethaby’s attempt to define architectural authenticity as compatible with industrial processes, however, seems to prefigure a greater interdisciplinary switch from a moral and Romantic view to a scientific and material understanding of society. ___________________________________________________________________________ As the great British architectural historian Nikolaus Pevsner argues, the late nineteenth century saw the fragmentation of Britain’s architectural and artistic landscapes as the dominant Neo-Classical forms were challenged by a series of artistic revivals often inspired by Britain’s medieval past.1 This Medievalism, far from being regressive however, was part of a broader reaction, occurring in varied fields of knowledge, to social, technological and scientific changes ushered in by the Industrial Revolution. Among the major voices of this period, John Ruskin (1819-1900) and William Lethaby (1857-1931) appear at opposite ends of
    [Show full text]
  • Part III Culture, Conflict and Inheritance
    Part III Culture, Conflict and Inheritance: the Tangible and the Intangible t was argued in Part I and Part II of this thesis that the tangible and the intangible I heritages both support diverse interpretations of (and motives for) preserving the past, reflecting the dualistic nature of the heritage field. It was also argued that each paradigmatic domain appears to come together (and/or fracture) over the concept of authenticity in the practice of restoration and that this tends to be reflected in the materials and techniques and the value attributed to this. Recent movements with respect to intangible heritage – now understood as the overarching paradigm through which all heritages are perceived – has challenged traditional notions of authenticity formerly based solely on materials and form but which now might also be understood in terms of process . Part III of this thesis discusses, in the first instance, the C19th. heritage Preservation Movement in the United Kingdom – founded prior to the discipline of scientific conservation (which emerged in the first quarter of the succeeding century). It argues that the United Kingdom has a unique historical trajectory with respect to the competing claims of the tangible and intangible heritages and that this (similarly) centred around the issue of restoration, authenticity and the role of the traditional arts and crafts (and therefore process ). It is suggested that this ‘pre-scientific’ period in many ways anticipates recent developments in global heritage preservation theory – particularly with respect to the safeguarding of the intangible heritage (which formed the substance of Part II). This is shown to have influenced thinking in the United Kingdom in recent times (most noticeably in architectural and environmental preservation) but is a view which has not yet been formally sanctioned in (for example) accordance with the documentation recently published by, or in association with, UNESCO.
    [Show full text]
  • Architecture, Mysticism and Myth (1891) William Lethaby and the Foundation of a Syncretic Modernism
    ARCHITECTURE, MYSTICISM AND MYTH (1891) WILLIAM LETHABY AND THE FOUNDATION OF A SYNCRETIC MODERNISM. Deborah. A. van der Plaat. A DISSERTATION m Architecture Presented to the Faculties of the University of New South Wales in Fulfilment of the Requirements for the Degree of Doctor of Philosophy. 2000 TABLE OF CONTENTS ACKNOWLEDGMENTS. 1. ABSTRACT. 11. LIST OF ILLUSTRATIONS. 111. INTRODUCTION. Two Lethabys or one? 1 0.1 William Richard Lethaby: A biographical Sketch. 2 0.2 Architecture, Mysticism and Myth. 4 0.3 Architecture, Mysticism and Myth: The problem of "two Lethabys." 5 0.4 Architecture, Mysticism and Myth: A syncretic theory of modem invention. 11 0.5 Methodology. 16 PART I. Architecture, Mysticism and Myth: Identifying a modern architecture. CHAPTER 1. Architecture, Mysticism and Myth: Reconciling the 'known' and the 'imagined.' 27 1.1 The debt to Ruskin. 28 1.2 Ruskin's thesis of mind and the Romantic Imagination. 32 1.3 'Known' and 'imagined' facts of the universe. 40 1.4 Lethaby's departure from Coleridge's and Ruskin's theory of the Imagination. 47 CHAPTER 2: Victorian mythography: Seeking a 'symbolism comprehensible to the great majority of spectators.' 61 2.1 The ambivalence of Victorian mythography. 62 2.2 The density of the mythic symbol. 66 2.3 The contribution of myth to Architecture, Mysticism and Myth. 73 CHAPTER 3. 'Would you know the new, you must search the old.' Nineteenth century readings of the Hypnerotomachia Poliphili (1499). 84 3.1 Nineteenth century readings of the Hypnerotomachia Poliphili. 85 3.2 'Would you know the new, you must search the old.' 97 3.3 Building with Heart.
    [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]