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Built from below
Extending the concept of British vernacular architecture to embrace buildings such as places of worship, villas, hospitals, suburban semis and post-war mass housing, this book is of use to anyone with an interest in architectural history.
eBook
Built from Below: British Architecture and the Vernacular
This book extends the concept of British vernacular architecture beyond its traditional base of pre-modern domestic and industrial architecture to embrace other buildings such as places of worship, villas, hospitals, suburban semis and post-war mass housing. Engaging with wider issues of social and cultural history, this book is of use to anyone with an interest in architectural history.
Presented in an essentially chronological sequence, from the medieval to the post-war, diverse fresh viewpoints in the chapters of this book reinforce understanding of how building design emerges not just from individual agency, that is architects, but also from the collective traditions of society.
“Applied to building types and periods once considered outside the pale, this kind of scholarship may do much to demolish the academic hedgerows that have portioned the British architectural landscape for too long.” – Buildings & Landscapes
Peter Guillery is a Senior Historian for the Survey of London, currently a part of English Heritage. He is the author of The Small House in Eighteenth-Century London (2004) and of other books and articles on diverse aspects of London’s architectural history. He is responsible for a forthcoming Survey of London volume on Woolwich.
1.Introduction Peter Guillery 2. Pre-Reformation Parish Churches Paul Barnwell 3. Following the Geometrical Design Path from Ely to Jamestown, Virginia Laurie Smith 4. The Villa: Ideal Type or Vernacular Variant? Elizabeth McKellar 5. The York Retreat, ‘a Vernacular of Equality’ Ann-Marie Akehurst 6. Self-Conscious Regionalism: Dan Gibson and the Arts and Crafts House in the Lake District Esmé Whittaker 7. Tudoresque Vernacular and the Self-Reliant Englishman Andrew Ballantyne and Andrew Law 8. ‘The Hollow Victory’ and the Quest for the Vernacular: J.M. Richards and ‘the Functional Tradition’ Erdem Erten 9. A Modernist Vernacular? The Hidden Diversity of Post-war Council Housing Miles Glendinning 10. From Longhouse to Live/Work Unit: Parallel Histories and Absent Narratives Frances Holliss
eBook
Exhibitions : review : \Building a dialogue : the architect and the client\
Reviews the exhibition \"Building a dialogue : the architect and the client,\" which was held at Sir John Soane's Museum in London from 17 February-9 May 2015. This show deployed a selection from the Soane Museum's outstanding collection of architectural drawings, paintings, and other archives to explore a multifaceted theme. That theme, the relationship between the designers of buildings and those they serve, is of course central to the discipline of architectural history. In an absorbing and informative display, the exhibition shed much light, with material stretching coverage from the 16th century to the 21st. It will come as no surprise, however, that the focus was principally on the late 18th and early 19th centuries, on Soane himself, the Adam brothers, and, to a lesser extent, their contemporaries. The exhibition thus implicitly dealt with professionalization, the shifting toward fixity in that period of the figure of the architect, for whom certain modes of conduct were appropriate and toward whom clients were meant to behave in certain ways. [Revised Publication Abstract]
Journal Article
Suburban Models, or Calvinism and Continuity in London’s Seventeenth-Century Church Architecture
The history of church architecture in seventeenth-century London lacks threads of continuity. It is dominated by two great men, Inigo Jones and Christopher Wren, whose contributions could not and did not straddle the whole metropolis or the whole of the century. Besides, the devising of a new church was too significant an act to be left entirely to those capable of architectural design. There is a related misconception that churches were seldom built in London between the Reformation and the Great Fire of 1666. Yet even within the City of London, numerous parish churches were rebuilt during this period, while Jones substantially remodelled Old St Paul’s Cathedral. Beyond the City, much more was happening. London’s earliest seventeenth-century suburban churches were broadly Gothic in style and medieval in type, while those built at the end of the century were entirely classical auditories. The same could be said of church building in a national context, although not without hefty qualification. What is fascinating, important, and insufficiently studied, is the nature of this transition and its wider historical meanings.
Journal Article
Part One: The Building
Strawberry Hill, the house in Twickenham named, enlarged and made famous by Horace Walpole from 1748 onwards, and latterly celebrated as a herald of both the Picturesque and the Gothic Revival, has been said to be ‘one of the best documented houses of all time’ and ‘studied at least as much as it deserves’. Accounts have placed great reliance on drawings, engraved and painted views, building accounts and, of course, Walpole’s irresistible writings, whether his correspondence or his Description of 1784, which included plans made in 1781 (Figs 1 and 2). As is to be expected virtually all the documentation on the house relates to Strawberry Hill as Walpole made it rather than as he found it. Little regard has been given to the practical circumstances of Walpole’s work, notably the fact that he was not building from new. There has been no clarity on the early development of the house, particularly with respect to its shape when it was acquired by Walpole in 1747. It is well-known that he was working to improve and enlarge a humble dwelling. However, this is not enough. The form of the house in 1747 matters because it set the parameters for Walpole’s architectural adventures. The early house is important simply because, despite its awkwardnesses and oddities, Walpole did not demolish it and start again. There are site-related reasons for this, discussed by Michael Snodin below, but it is clear that he was charmed by the building and that, with knowing conceit, he used it to root his new home in a bogus antiquity. The point of investigating the early form of Strawberry Hill is not perversely to glorify a pedestrian and makeshift vernacular house at the expense of what is truly wonderful about the later house; it is, rather, to arrive at a better understanding of what was the starting point and, in some measure, the inspiration for a great accretive architectural achievement.
Journal Article
Norwood Hall and Micklefield Hall: Works by Sir John Soane
It is surprising that an architect of the standing of John Soane should have taken on, in October 1801, work as trivial as cleaning and blackening the letters on a mural tablet memorial. This he did for Elisha Biscoe in the church of St Mary, Norwood Green in Middlesex. This can be explained only by relating it to more significant work in progress at precisely the same time on a site adjacent to the church; Norwood Hall was being built to designs by Soane, but for John Robins not Elisha Biscoe. The two clients are intimately linked, and had much to do with other commissions from Soane in the years around 1800. At the turn of the century Soane had a very successful architectural practice. Large as well as small jobs were coming his way steadily, as Dorothy Stroud’s chronological catalogue clearly shows. The remodelling of his own new house at Pitzhanger became one of Soane’s major preoccupations in 1800. The important work at Pitzhanger and the unimportant work on the mural tablet are both relevant to this study which is concerned with John Robins’s new house at Norwood and works for Elisha Biscoe at Micklefield Hall, near Rickmansworth in Hertfordshire.
Journal Article