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chapels, its grand tower, and exquisitely carved stalls’, 2 and Paul Jeffery as ‘a very splendid building’. 3 Despite this, the fabric has not been the subject of detailed analysis since the early twentieth century. Serious attempts to unravel the building’s history started with Samuel Hibbert-Ware’s History of the Foundations of Manchester of Christ’s College, Chetham’s Hospital and the Free Grammar School (3 vols, 1828–33), with a section on the architecture of the building by John Palmer (1785
This book examines how eighteenth-century prints and drawings of the architecture of antiquity operated as potent representations of thought with their own syntactical, linguistic and cultural qualities.
Original archival material is interrogated using the trope of ekphrasis to pinpoint debates about verbal and visual descriptions that continue to influence semiotics and critical theory. This novel approach makes a timely intervention in current debates about how we interpret the visual.
Beginning with the notion that the spatial world of the image and the temporal world of the text share common ground as embodiments of human thought, this study questions how these are brought to bear on the spatial and temporal aspects of the architecture of antiquity as evident in prints and drawings made of it. The book considers the idea of the past in the period, especially how it was discovered and described, and investigates the ways in which space and time inform the visual ekphrasis of architecture. The idea of embodiment is used to explore the various methods of describing architecture – including graphic techniques, measurement and perspective, all of which demonstrate choices about, and the gendered implications of, different modes of description or ekphrasis.
This book analyses the use of the past and the production of heritage through architectural design in the developmental context of Iran. It is the first of its kind to utilize a multidisciplinary approach in probing the complex relationship between architecture, development, and heritage. It uses established theoretical concepts including notions of globalism, nostalgia, tradition, and authenticity to show that development is a major cause of historical transformations in places such as Iran and its effects must be seen in relation to global political and historical exchanges as well as local specificities. Iran is a pertinent example as it has endured radical cultural and political shifts in the past five decades. Scholars of heritage and architecture will find the cross-disciplinary aspects of the book useful. The premise of the book is that transposed into other contexts, development, as a globalizing project originating in the West, instigates renewed forms of historical consciousness and imaginations of the past. This is particularly evident in architecture where, through design processes, the past produces forms of architectural heritage. But such historic consciousness cannot be reduced to political ideology, while politics is always in the background. The book shows this through chapters focusing on theoretical context, international exchanges made in architectural congresses in the 1970s, housing as the vehicle for everyday heritage, and symbolic public architecture intended to reflect monumental time. The book is written in accessible language to benefit academic researchers and graduate students in the fields of heritage, architecture, and Iranian and Middle Eastern studies.
Early in the summer of 1933 Jim Richards arrived at the offices of the Architectural Press, which were housed in the Georgian townhouses of 9–13 Queen Anne's Gate, Westminster ( Figure 2.1 ). He was interviewed for the role of assistant editor at The Architects’ Journal by Hubert de Cronin Hastings. Richards was chosen from the seventy applicants for the job and in July 1933 he was back at Queen Anne's Gate for his first day as a journalist. 1
Introduction Development, architecture, and heritage: The formation of a collective imagination This book examines the relationship between development, architecture, and the (re)production of the past through architectural design in Iran, from the early 1970s to the 1990s. It will show that this relationship is entangled in larger historico-cultural processes, many of which originated from outside Iran in European Enlightenment and post-Enlightenment intellectual discourses. This relationship between architectural design and the production of the past in the
The Lancashire Independent College in Whalley Range, Manchester (1839-43), was built to train Congregational ministers. As the first of a number of Nonconformist educational institutions in the area, it illustrates Manchester‘s importance as a centre of higher education generally and Nonconformist education in particular. The building was designed by John Gould Irwin in Gothic style, mediated through references to All Souls College in Oxford by Nicholas Hawksmoor, whose architecture also inspired Irwins Theatre Royal in Manchester (1845). The College was later extended by Alfred Waterhouse, reflecting the growing success of the institution, which forged links with Owens College and went on to contribute, with other ministerial training colleges, to the Universitys Faculty of Theology established in 1904. The building illustrates an interesting strand in early nineteenth-century architectural style by a little-known architect, and has an important place in the history of higher education in north-west England.
Architectural icons are the new monuments of a globalising era. Sklair has defined them as buildings or spaces that are characterised by a ‘unique combination of fame with symbolism and aesthetic quality’ (Sklair, 2006 : 25), and hold a special meaning ‘for a culture and/or a time’ (Sklair, 2017 : 16). Architectural icons include corporate and commercial buildings, but they also include publicly funded buildings, since they are invariably included in urban regeneration projects that promote growth and competitiveness to address urban
4 Reading architecturally: The wall texts of a Percy family manuscript and the Poulys Daunce of St Paul’s Cathedral As discussed in the previous chapter, reading extracodexical texts materially requires attending to particular details such as space and place, and embodied experiences shaped by these materialities, such as movement. These three aspects of material reading converge in a striking way when considering the role of architecture in fashioning reading practices. Architecture may not seem an obvious direction in which to look when assessing the culture of
Commoning architectures 27 2 Commoning architectures Contested common worlds and the role of architecture The role of public space in molding city politics has been extensively theorized and studied. The shaping of citizenship and the establishment of citizen rights have been connected to struggles over and in public space, as well as to discourses that problematize public space as a constituent element of public life. It would be accurate to say that public space has formed the terrain for crises of citizenship more often than it has provided the stable
RIGO: Some part of the building, mee thinketh, is after the Italian maner. CONO: Some part of it, being ruinous, I built after my fancie, and such as I found sounde, I thought yenough for me to keepe the repararations. Barnaby Googe, 1577 1 Sixteenth-century Ireland does not fit standard English historical periodization. England had by that time abandoned medieval traditions for nation-state building, a new religious creed, and an essentially new nobility. New architectural forms, as