Relevant bibliographies by topics / Brutalism (architecture) – great britain

Academic literature on the topic 'Brutalism (architecture) – great britain'

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Published: 26 July 2024
Last updated: 27 July 2024

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Journal articles on the topic "Brutalism (architecture) – great britain"

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Kitnick, Alex. "Review: Brutalism: Post-war British Architecture by Alexander Clement; Neo-avant-garde and Postmodern: Postwar Architecture in Britain and Beyond by Mark Crinson and Claire Zimmerman, editors; A Guide to the New Ruins of Great Britain by Owen Hatherley." Journal of the Society of Architectural Historians 71, no. 2 (June 1, 2012): 232–35. http://dx.doi.org/10.1525/jsah.2012.71.2.232.

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Ivaschenko, Nikita A. "BRUTALIST ARCHITECTURE IN RUSSIAN AND FOREIGN ART HISTORY AFTER REYNER BANHAM." Articult, no. 4 (2022): 6–16. http://dx.doi.org/10.28995/2227-6165-2022-4-6-16.

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Brutalist architecture is of great interest to contemporary art historians, architecture lovers, designers and musicians. The first large work on brutalist architecture was Reyner Banham’s “The New Brutalism: Ethic or Aesthetic?”, initially published in the beginning of the 1970-s. This text, though not free of contradictions, became the start of a whole tradition of speaking about brutalism in special literature. Still being relevant, Banham’s book serves as a guiding star for the succeeding authors on the one hand and needs to be revised on the other. The article is centered on the texts that form this tradition in the history of art around the world and in Russia after Reyner Banham. It offers the result of collecting these texts on brutalist architecture and an analysis of the points of view of different authors on the problem of brutalist architecture and its history. The key questions of the article are to elaborate on the periodization and characteristic of brutalist architecture and to expose the existing tradition of studying it.
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Ben Shoshan, Liat Savin. "Architecture, cinema, and images of childhood in 1950s Britain." Architectural Research Quarterly 22, no. 2 (June 2018): 115–26. http://dx.doi.org/10.1017/s135913551800043x.

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In 1956, Independent Group member Eduardo Paolozzi, close friend and collaborator of Alison and Peter Smithson, starred in the film Together, directed by Lorenza Mazzetti, who had met him while a student at the Slade School of Fine Art. Strikingly, the imagery and setting of the film shares much in common with the images used by the Smithsons in their work, particularly those by Nigel Henderson, of children playing in the East End. Together is a 52-minute film screened in 1956, as part of Free Cinema programme. East London, with its narrow streets, riversides, docks, and multiple bomb sites, as well as the manner in which this location was shot, expressed the sense of disharmony – even chaos; a scenery patched together out of the remnants of prewar daily routines; a mix of dwellings, cranes, industry, and children running among the ruins. Looking more closely at Free Cinema's use of image and at the postwar concern with childhood allows us to better understand how and why children figured in the Smithsons’ work and how they came to inspire a new creative consciousness in New Brutalism more generally.
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Holland, Jessica, and Iain Jackson. "A Monument to Humanism: Pilkington Brothers’ Headquarters (1955–65) by Fry, Drew and Partners." Architectural History 56 (2013): 343–86. http://dx.doi.org/10.1017/s0066622x00002537.

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The architect Maxwell Fry (1899–1987) is widely recognized as one of the key protagonists in the development of Modernist architecture in Britain. Discussion of this role perhaps inevitably tends to focus on Fry's early involvement in the Modern Architectural Research (MARS) Group and his inter-war work, particularly his prestigious partnership with the Bauhaus-founder Walter Gropius. Post-war, emphasis shifts to Fry's advancement of ‘Tropical Architecture’ in former British colonies with his wife and partner, the architect Jane Drew (1911–96). Despite a string of important commissions on home soil, their post-war work in Britain has been sidelined due to a historical narrative focused on the rise of ‘New Brutalism’. This article contributes to a reassessment of Fry, Drew and Partners’ work in 1950s and 1960s Britain. It uses the Pilkington Brothers’ Headquarters (1955–65) in St Helens as a case study to examine post-war industrial patronage and how this affected the architectural approach of the project's lead designer, Maxwell Fry. In particular, it investigates his background in civic design at Charles Reilly's Liverpool School of Architecture. Furthermore, it examines Fry's reassessment of pre-war Modernist theory and practice during the mid-1950s and his response to the younger generation of MARS members, such as the Smithsons and Denys Lasdun.
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Nikcevic, Sanja. "British Brutalism, the ‘New European Drama’, and the Role of the Director." New Theatre Quarterly 21, no. 3 (July 18, 2005): 255–72. http://dx.doi.org/10.1017/s0266464x05000151.

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The explosion of new theatre writing in Britain during and since the 'nineties contrasted with a dearth of original plays on continental Europe, east and west. Sanja Nikcevic attributes this in part to the dominance over the previous decades of the role of leading directors, who increasingly sought out raw materials to shape productions conforming to their own or their company's ideas. She traces the attempts in a number of countries to correct the imbalance by encouraging new writing through workshops and festivals—yet also how the explosion and importation of the British ‘in-yer-face’ style then affected the kind of new writing that was considered innovative and acceptable at such events. She argues against the claims made for the political significance of plays such as Sarah Kane's Blasted, suggesting rather that the acceptance of the normality of violence without reference to its social context negates the possibility of remedial action. A former Fulbright Scholar, Sanja Nikcevic is Head of the Department of English Literature at the University of Osijek, Croatia. Her full-length publications include The Subversive American Drama: Sympathy for Losers (1994), Affirmative American Drama: Long Live the Puritans (2003), and New European Drama: the Great Deception (2005). She was the founder and for eight years the president of the Croatian Centre of the International Theatre Institute.
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Ortlepp, A. "Building Concrete Democracies: New Brutalism in Great Britain, the United States, and Brazil from the 1950s to the 1980s." Amerikastudien/American Studies 65, no. 2 (2020): 193–212. http://dx.doi.org/10.33675/amst/2020/2/8.

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Hoey, Lawrence R., and Malcolm Thurlby. "A Survey of Romanesque Vaulting in Great Britain and Ireland." Antiquaries Journal 84 (September 2004): 117–84. http://dx.doi.org/10.1017/s0003581500045820.

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This paper examines the use of vaults in ecclesiastical and secular architecture in Great Britain and Ireland from 1066 to around nyo. We commence with an investigation of the distribution of vaults in various types of buildings. Local workshop traditions are explored and aspects of architectural iconography are considered. The gazetteer provides full references to one-word place names in the text, along with descriptions of the vaults and bibliographical references.
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ShEINA, T. V., and A. V. IVANOV. "THE CONSTRUCTIVE DECISION AND BUILDING MATERIALS OF EXHIBITION PAVILIONSOF GREAT BRITAIN THROUGH THE EXAMPLE THE FIRST AND LAST WORLD EXHIBITION-EXPO." Urban construction and architecture 1, no. 3 (September 15, 2011): 86–91. http://dx.doi.org/10.17673/vestnik.2011.03.19.

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The results of investigating structural solution and building materials of exhibition pavilions of Great Britain taken at different epochs are presented in this article. Features of architectural formation of exhibition pavilion demonstrate the application of new building materials and constructions. There is presented the development building technology trends, which find the further application in the world architecture. Innovative architectural methods, the unusual thing of setting and forms of pavilions show the achievements of Great Britain in such areas as science, culture, technology and building materials at its best.
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Romein, C. A. (Annemieke). "Olivia Horsfall Turner,“The Mirror of Great Britain”: national identity in seventeenth-century British architecture." Seventeenth Century 29, no. 2 (March 6, 2014): 212–14. http://dx.doi.org/10.1080/0268117x.2014.893409.

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Trantas, Georgios E. "Greek-Orthodox Diasporic Glocality and Translocality in Germany and Great Britain." Journal of the British Association for the Study of Religion (JBASR) 22 (December 15, 2020): 71. http://dx.doi.org/10.18792/jbasr.v22i0.48.

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Migration does not take place in a vacuum, nor is the formation of communities thereof a mere collection of individuals; particularly when taking into account one of the main transferrable cultural determinants of identity and self-perception, i.e. group religiosity. The latter makes its aesthetic manifestation in the public sphere and hence, migration gives rise to religioscapes, which are identifiable by their visible markers in the form of architecture and religious art. The same applies to the Greek-Orthodox migrant communities of Germany and Great Britain. Both were established in the mid-twentieth century when the main bulk of their demographic presence in the corresponding countries took place. The formation of their communities occurred clearly before globality ushered in the contemporary, parallel, glocal, translocal and cultural relativisation that is facilitated by increased mobility and advanced means of communication. Yet, this paper argues that both the glocal and translocal conceptual frameworks apply to the case studies of interest. Evidence of this is particularly traceable in their corresponding religioscapes’ markers, which are permeated by aesthetic priorities and main influences, emergent patterns of predominant featured themes and tendencies that attest to glocality and translocality. Notably, not only are their places of worship containers of their immortalized narratives, they also contribute to the perpetuation of their distinct mutability. This phenomenon of aesthetic adaptation in accordance with the accumulated social experience, highlights the emergent patterns of a glocal and translocal sense of being and belonging that gave rise to the distinct hybrid identity amalgams thereof.
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Dissertations / Theses on the topic "Brutalism (architecture) – great britain"

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Karp, Mackenzie. "Ethic Lost: Brutalism and the Regeneration of Social Housing Estates in Great Britain." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19319.

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Between the late 1940s and the 1970s, the New Brutalism attempted to establish an ethical architecture befitting post-World War II Britain. For this reason, it became a popular style for public buildings, including social housing. Brutalist social housing estates were conceived by progressive post-war architects to house Britain’s neediest. Through an analysis of the utopian roots of Brutalism and the decline of the style and its ethic in scholarship and popular culture, I analyze the current redevelopment of three seminal Brutalist housing estates and the rediscovery of the Brutalist aesthetic by contemporary scholars and consumers alike. In this thesis, I argue that due to multiple factors, including a housing shortage across Britain, rising real-estate values and a general consumer interest in mid-century design, these estates are undergoing such regenerations. My thesis enhances our understanding of how social and political influences have shaped post-war British social housing up to the present.
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Wheeler, Katherine Jean. "The reception and study of Renaissance architecture in Great Britain, 1890-1914." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/38540.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
"February 2007."
Includes bibliographical references (p. 267-292).
The writing of Renaissance architectural history in the period 1890-1914 in Great Britain changed dramatically. Despite modernism's tenet of rejecting history from design, Renaissance architectural history in Great Britain functioned as both an alternative to and a source of inspiration for modernism. At first Renaissance architecture supplied a stylistic alternative to the Gothic Revival; then it acted as a bastion against modernist influences from the Continent. Finally, it provided a foundation of aesthetic principles applicable to modern design. With the advent of university programs in architecture, the writing of architectural history became more formalized, marking the beginning of architectural history's autonomy as a discipline and foreshadowing modernism's rejection of history from the design process. In my dissertation I analyze the perceptions and presentations of Renaissance architecture in order to investigate the relationship between history and design in architectural education, literature, and practice at the turn of the century in Great Britain. An analysis of architectural curricula, designs, and publications from this period reveals the development of an autonomous architectural history and the foundations of a modern architecture.
by Katherine Jean Wheeler.
Ph.D.
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Riddell, Richard John. "The entrance-portico in the architecture of Great Britain, 1630-1850." Thesis, University of Oxford, 1995. http://ora.ox.ac.uk/objects/uuid:e39a45bc-ecf0-40b8-9f94-208095677fc6.

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This thesis attempts to account for the appearance, persistence, and eventual decline of an architectural motif, derived from ancient pagan temples, widely used as the principal feature on an increasing variety of building types in Britain, during the period 1630 to 1850. The thesis seeks to do this by defining both the word 'portico' and the architectural forms to which, historically, it was applied, and by examining the religious, political, social, and stylistic contexts in which the portico, as a metaphor for the temple, was utilized. The rationalization within the Vitruvian-Christian tradition of the ancient temple's pagan connotations; the portico's intrinsic capacity to symbolize virtue, distinction, and authority; the changing perceptions of the idea of the temple; and the different nature and sources of both the authority and the architectural style which the portico expressed, are investigated. Architecturally, the portico expressed grandeur, centrality, and an entry; it controlled, defined, and gave focus to urban space. Introduced to Britain by Inigo Jones, and based on classical Roman and Palladian models but with Salomonic overtones, the portico initially symbolized Stuart dynastic claims to divine kingship. As political and economic power shifted to an aristocratic oligarchy, the temple that was Britain, Rome's heir, symbolized a church and state united, and the secular virtues of the Augustan age. Palladio's fusion of Roman temple and villa provided the model for the oligarchy's power base, the porticoed country house. Archaeology and politics combined, first to project mercantile opulence through imperial Roman-inspired neo-classicism, then the more fundamental qualities of the Greek temple. The Pantheon gave way to the Parthenon; the temple of private wealth to the imagined temple of democracy. After epitomizing the characteristic early nineteenth-century public style, the too-pagan Greek portico succumbed - as did the classical ideal - in the anarchy of styles, to the Gothic.
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Aspin, Philip. "Architecture and identity in the English Gothic revival 1800-1850." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669903.

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Ulmer, Daniel Clay. "Elizabethan and Jacobean architecture : the evolution of a style." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/22400.

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Thomson, Christina. "Contextualising the continental : the work of German émigré architects in Britain, 1933-45." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/34756/.

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Between 1933 and 1940 between sixty and ninety German architects arrived in Britain as émigrés fleeing from Nazi oppression. The Germany which they left had, until Hitler's intervention, been the centre of European architectural modernism. Making their passage into Britain, they encountered a country whose architectural climate was altogether more traditional. When the first German architects arrived in 1933, architectural modernism was only just taking root, but only a few years later Britain's architectural culture boasted a thriving modernist scene. This coincidence has led historians to draw a direct connection between the presence of German architects and the establishment of modernism in Britain. This thesis, however, advances the current historiography by showing that the role of German émigrés was, rather than to initiate British architectural modernism, to support a development which had taken root before their arrival. Through examination of a number of sources - including personal papers, drawings, photographs, archive material, buildings, and personal interviews - it explores processes of acculturation as evidenced by the work of the émigré architects. A number of in-depth case studies reveal that the new environment in Britain provoked a variety of responses among the German architects, whose work frequently digressed into the realms of British architectural traditions (taking particular inspiration from the architecture of the Georgian period). Looking beyond well-known figures such as Mendelsohn and Gropius, the thesis concludes that the story of architectural migration from Germany to Britain cannot be told in terms of modernism alone. It shows that responses to the émigré situation were highly dependent on the individual architect's background, his or her experience, age, standing and time of arrival, but reveals that, disregarding these differences, all émigré architects to some degree adapted to their new working environment, a tendency which has been described as New Contextualism. Although submitted in the field of History of Art, the scope of this thesis is methodologically and epistemologically wider than might usually be associated with this field. Despite being strongly visually based in its main analysis, the work is inter-disciplinary in approach, incorporating elements of biography, history, sociology, and exile studies, therefore expanding the boundaries of art historical study.
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Knott, Cherry Ann. "George Vernon and the building of Sudbury Hall, Derbyshire : punching above his weight?" Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/57063/.

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My case study of the building of Sudbury Hall, Derbyshire, is a landmark volume within the fields of architectural and social history in the context of the development of houses of English landed gentry in the seventeenth century.
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Monckton, Linda. "Late Gothic architecture in South West England : four major centres of building activity at Wells, Bristol, Sherbourne and Bath." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/34754/.

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By 1360 the Perpendicular style was established as the successor to Decorated architecture. During the subsequent one hundred and eighty years, until the Reformation, major building work was carried out at four great churches in the south west of England. The complete reconstructions of St Mary Redcliffe, Sherborne Abbey and Bath Abbey, and considerable work to the precinct at Wells Cathedral during this period, form the basis for this thesis. Through a study of each of these major centres, the issues of workshop identity and stylistic trendsetters are considered. It is shown how the interpretation of documentary evidence has impeded an understanding of these buildings, which can be revealed by an analysis of the fabric. Based primarily on a methodology of buildings archaeology and assessment of moulding profiles, traditional assumptions concerning the chronology and patronage are challenged. The new chronology for works at Sherborne Abbey, and the redating of the commencement of Bath Abbey further our understanding of the nature of masons' workshops, patronage and stylistic development within a regional context. Introspection in masons' workshops during the 15th century, and retrospection in later design in the region, demonstrates a reliance on the innovations of the 14th century, and the significance of the parish church tradition in the region, respectively. The thesis concludes with a discussion on the influence of major church workshops on domestic architecture, and the impact of the dissemination of the lodges in the early 16th century.
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Hewitt, Lucy Elizabeth. "Civic agenda : associations, networks and urban space in Britain, c1890-1960." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5721.

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Over the course of the nineteenth century, while many towns and cities grew at a remarkable rate, interest in architectural design, planning, and the quality of urban landscapes also increased. By the close of the century a number of associations had been established that were concerned with promoting the care of ancient buildings, the protection of open spaces, or the quality of future urban growth. During the twentieth century associational activity concerned with the quality of urban space has proliferated. Many, if not most, towns and cities in Britain have an organized body dedicated to campaigning and acting for the interests of local identity, development and heritage. Sometimes these are called Preservation Trusts (as in St Andrews or Cambridge), sometimes they are simply named after the city to which they belong (The London Society or The Warwick Society), most commonly they are known as Civic Societies. Regardless of name, they share key objectives: the promotion of high standards in planning and architecture; the preservation of historically or aesthetically significant buildings; the education of the public in the history, geography, and architecture of the local environment. In the early twentieth century these organizations provided a focus for discussions about the nature of urban space and approaches to shaping the development of towns and cities. They brought together a range of individuals, including planners, architects, reformers, academics, artists and politicians, who shared a concern for the landscape of Britain’s cities. Through their discussions and activities emerged an approach to urban development that emphasised socio-scientific methods and ideas in combination with an argument about the affective bonds that connect individuals to a place. The approach was often called civics and the agenda pressed forward by civic associations and their members forms the focus for this study. This work explores the continuities between philanthropic experiment in the later nineteenth century and the civic movement of the twentieth century by demonstrating the connections between earlier and later activities, and emphasising the continued involvement of a number of key individuals and families. It makes a contribution to understanding professional development in the fields of planning, architecture and urban studies. Key figures in the history of British planning, such as Patrick Abercrombie, Raymond Unwin and George Pepler, formed their early professional networks through civic groups, while architects including Charles Reilly and Aston Webb developed their collaborations through their involvement with the civic movement. Furthermore, individuals whose role in British urban sociology, most notably Patrick Geddes, has influenced the ways in which we study our urban areas first promoted their ideas and methods through the network of civic associations that developed over the course of early twentieth century. Through the analysis this thesis draws in theoretically informed questions. Firstly these relate to the role of voluntary associations and networks in structuring the development of professions, circulating their bodies of specialist knowledge and securing wider participation in urban policy. Secondly, the thesis considers the manner in which spaces come to hold the meaning and memories of particular groups, the significance and power of representations of place and the emerging tradition of spatial history that privileges the micro-processes through which places are created and sustained.
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Worsley, Giles Arthington. "The design and development of the stable and riding house in Great Britain from the 13th century to 1914." Thesis, Courtauld Institute of Art (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284417.

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Books on the topic "Brutalism (architecture) – great britain"

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Catherine, Spellman, and Unglaub Karl, eds. Peter Smithson: Conversations with students : a space for our generation. New York: Princeton Architectural Press, 2005.

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1952-, Johnson Peter, Haynes Ian, and Council for British Archaeology, eds. Architecture in Roman Britain. York: Council for British Archaeology, 1996.

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Philip, Mockridge, ed. Weathervanes of Great Britain. London: Robert Hale, 1990.

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Victorian architecture in Britain. London: A & C Black, 1987.

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Village buildings of Britain. Boston: Little, Brown, 1992.

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1912-1971, Smith Edwin, ed. Architecture in Britain and Ireland, 600-1500. London: Harvill Press, 1999.

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The Roman house in Britain. London: Routledge, 2002.

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Hatherley, Owen. Guide to the new ruins of Great Britain. London: Verso, 2011.

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Reading, Billy. Brutalism. Amberley Publishing, 2018.

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Raw Concrete: The Beauty of Brutalism. Penguin Random House, 2016.

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Book chapters on the topic "Brutalism (architecture) – great britain"

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Strunck, Christina. "Ein erster Überblick über englisch-deutsche Kunstkontakte im Zeitraum 1660–1727: Künstler- und Objektmobilität, Reisenarrative, Kunstaufträge mit Bezug zum Hosenbandorden und deutsch-englische Kontakte in der Monumentalmalerei." In Neues von der Insel, 289–325. Berlin, Heidelberg: Springer Berlin Heidelberg, 2024. http://dx.doi.org/10.1007/978-3-662-66949-5_14.

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ZusammenfassungThis article gives the first overview of a hitherto almost unexplored field, British-German artistic exchange in the period between 1660 and 1727. This period was characterized by a dynastic crisis of the Stuart monarchy that finally led to the establishment of the Hanoverian dynasty in Great Britain. The text focuses on five fields of inquiry: (1) the discussion of works of art and architecture in travel narratives, (2) artistic commissions related to the Order of the Garter, (3) travelling artists and the careers of German artists who settled permanently in England, (4) the movement of objects from Britain to Germany and vice versa, (5) the depiction of German-English contacts and the cross-cultural reception of aesthetic models in monumental painting.
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Roberts, Daniela. "Visualizing Historical Greatness." In Spaces for Shaping the Nation, 231–54. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839466940-014.

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In this paper I will look at the two national portrait galleries in Great Britain (the English institution in London and the Scottish National Portrait Gallery in Edinburgh) and compare their strategies for presenting the collections of certain eminent men and women. Such strategies served to convey the significance of these figures both for the nation and for each museum's history. Choices of architecture, style, and decorative scheme, as well as the setting for the collection and its display, will be analysed in order to understand these institutional modes of reconstructing and visualizing national history.
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Saint, Andrew. "Cities, architecture, and art." In The Nineteenth Century, 255–92. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198731443.003.0008.

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Abstract Cities offer what the visual arts require: skilled labour, access to special equipment and materials, an alertness to fashion, contact with clients, and chances for stimulus, rivalry, and collaboration. So if, as is often said, the nineteenth century was an age of cities, that meant no great change in the way the fine and applied arts in Britain were created. The novelty was that they were now not just originated in cities but directed overwhelmingly towards them as well.
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Pugh, Martin. "India and the Anglo-Muslim Love Affair." In Britain and Islam, 62–85. Yale University Press, 2019. http://dx.doi.org/10.12987/yale/9780300234947.003.0004.

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This chapter explains that it was in India that the British became most fond of Muslims, and there that the relationship acquired an element of romance. For all the Victorians' self-confidence in the superiority of their civilisation, when the relationship with India began in the seventeenth century, the British played a distinctly subordinate role. The early modern world was dominated by three great empires: the Ottomans, based in modern Turkey but stretching far beyond it; the Safavids in Persia; and the Mughals in India. Apart from their military might, all three boasted impressive cultural achievements in terms of art, architecture, science, and literature that made them superior to the Europeans of the time. When the British sought to trade with India at the start of the seventeenth century, they found the country under arguably the greatest of the Mughal emperors, Akbar, who ruled from 1556 to 1605.
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Legard, James. "Colen Campbell, James Gibbs and Sir John Vanbrugh: Rethinking the Origins of the British Architectural Plate Book." In The Architecture of Scotland, 1660-1750, 170–88. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474455268.003.0010.

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Early eighteenth-century British architecture has generally been portrayed as a battle between the Baroque and Palladian styles. In this view, Colen Campbell’s Vitruvius Britannicus (1715-1725) was the great manifesto of Palladianism against the ‘official’ court Baroque of Wren, Hawksmoor and Vanbrugh, while James Gibbs’ Book of Architecture (1728) represents a subsequent rearguard action on behalf of the Baroque aesthetic. This chapter shows that the two publications were indeed profoundly shaped by their émigré Scots’ authors’ encounters with Vanbrugh—and notably by his own important, though nearly forgotten, attempts at architectural publishing—but in ways that directly contradict received views of their purposes. United by their Whig political sympathies, Vanbrugh and Campbell worked together to promote their architectural careers, regardless of their apparent stylistic opposition, while their common enmity towards Gibbs, a Tory and closet Catholic, reinforced his preference for an independent path. The resulting picture of the origins of the earliest British architectural plate books reinforces recent calls to fundamentally rethink the relationship between political identity and stylistic choice in early eighteenth-century Britain.
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Oldham, Joseph. "‘Who killed Great Britain?’: Tinker Tailor Soldier Spy (BBC 2, 1979) as a modern classic serial." In Paranoid Visions. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784994150.003.0004.

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This chapter examines the 1979 BBC 2 serialised adaptation of John Le Carré’s Tinker Tailor Solider Spy, positioning this as the first instance of the BBC seizing the initiative over ITV in the spy genre. It explores how this was produced within the BBC classic serial tradition, most traditionally reserved for adapting canonical 19th century novels, whilst the casting of acclaimed actor Alec Guinness in central role of George Smiley imparted further prestige from film and theatre. It argues that the serial achieved its popular impact through embracing the complex narrative pleasures of the long-form serial, whilst countering this with the simple through line of a whodunit (or mole-hunt) storyline, offering multiple possibilities for audience engagement. Finally, it argues that through extensive location filming the serial was able it to effectively visualise some of the elegiac themes of the novel through landscape and architecture.
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"Public Parks in Great Britain and the United States: From a ‘Spirit of the Place’ to a ‘Spirit of Civilization’." In The Architecture of Western Gardens: A Design History from the Renaissance to the Present Day. MIT Press, 1991. http://dx.doi.org/10.37862/aaeportal.00122.055.

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"Collective Volumes." In Annual Bibliography Of British And Irish History, edited by Austin Gee, 1–13. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780199249176.003.0001.

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Abstract Addison, Paul; Crang, Jeremy A. (eds.) The burning blue: a new history of the Battle of Britain (London: Pimlico, 2000), 292p.Airs, Malcolm (ed.) The later eighteenth century country house: the proceedings of a conference under the joint directorship of Edward Chaney and Malcolm Airs held at the Department for Continuing Education, the University of Oxford, 10–12 January 1997 ([Oxford]: University of Oxford, Department for Continuing Education, 1997), 240p.Airs, Malcolm (ed.) The Victorian great house(Oxford: Department of Continuing Education, Oxford University, 2000), vi, 164p.Alan, Leslie (ed.) Theoretical Roman archaeology & architecture: the third conference proceedings (Glasgow: Cruithne, 1999), 212p.
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Weir, David. "3. London." In Decadence: A Very Short Introduction, 57–80. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780190610227.003.0004.

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Decadence in Great Britain takes form in the late nineteenth century as both a reflection of and reaction to the urban plan of its capital city. London decadence has this in common with Parisian decadence, but with several significant differences, such as the British preference for neo-Gothic architecture and the contrasting allocation of urban space to variations in social class. The work of John Ruskin affirms the neo-Gothic aesthetic, while that of Walter Pater emerges as a decadent rejection of it. Later, the work of George Moore, Arthur Symons, Oscar Wilde, and Ernest Dowson certified London decadence as a culture antagonistic to bourgeois tastes and manners.
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Hingley, Richard. "‘A colony so fertile’." In The Recovery of Roman Britain 1586-1906. Oxford University Press, 2008. http://dx.doi.org/10.1093/oso/9780199237029.003.0008.

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In A Specimen of a History of Oxfordshire, the Reverend Thomas Warton reflected on the significance of the Roman pavement at Stonesfield (Oxfordshire) and explored the two main themes which structure chapters three and four: he writes of Roman settlers who migrated with their families to Britain but suggests that wealthy and well-connected Britons might have built villas like the example uncovered at Stonesfield. From the late seventeenth century to the beginning of the twentieth, the debate about the nature of society in Roman Britain drew upon these contrasting images to explain the character of the Roman occupation of southern Britain. Certain writings of the late sixteenth and early seventeenth centuries had developed the idea of the passing on of civility from the Romans to the British, which could be used as a source of patriotic reflection. There was less confidence in this idea during the eighteenth century, when influential works on the Walls and the northern stations promoted a primarily military interpretation of Roman sites in the south. In the introduction to his volume of 1793, Roy presented a thoughtful assessment of contemporary understanding of Roman Britain and emphasized its military nature. Following earlier examples, he divided the monuments of the Roman empire into two types: the public buildings—the temples, amphitheatres, and baths well known to British gentlemen from their visits to Italy—and the military sites. Roy emphasized that, with regard to military remains of Britain ‘perhaps no quarter of their vast empire, not even Italy itself, furnishes so great a variety; and many of them exceedingly perfect’. By contrast, in reflecting on public buildings, he states that ‘Britain affords very few vestiges of any consequence’. Indeed, it is true that, by the late eighteenth century, there was very little published evidence for public buildings to compare with the extensive evidence for the military sites of southern Scotland and northern England. Roy argued, ‘neither is it probable that the Romans ever executed many of those costly edifices in this island’. At the time Roy was writing (c.1773), little excavated evidence had been found for public buildings or ornate architecture anywhere in Britain.
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Conference papers on the topic "Brutalism (architecture) – great britain"

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Gaessler, Stéphane, Ksenia Malich, Ilya Pechenkin, and Anna Vyazemtseva. "Architects in Motion — Reasons, Conditions, and Consequences of Professional Migration from Russia and the Soviet Union to Italy, France, and Great Britain in 1905 – 1941." In 3rd International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211125.163.

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Christie, Robyn. "The Great Debate: Campaigns and Conflicts in London in the 1980s." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5016p9v9h.

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In 1984 HM King Charles III, then HRH The Prince of Wales, gave the infamous speech to the RIBA in which he was critical of a proposed new extension to the National Gallery in Trafalgar Square. The fervour unleashed in the press signified a unique moment when architecture, conservation, planning and development became a much – and still – talked about part of the public discourse in Britain. Conservation theory had dictated since its early guidelines of practice that new additions to historic works should be clearly distinguished from their original host or the existing environment. Historicism, imitating the existing architecture within an urban setting was taboo, a notion that went back to Ruskin and the anti-scrape lobby of Morris. Unravelling the events of the 1980s, however, reveals that the desire to copy past forms as a means of retaining the past maintained an ongoing and strong legacy. It had become a method of seeking refuge from the failures of modernism and the divergence between traditional and modern forms, language and techniques. Openly acknowledged that modernism was anti- historic and anti-urban, classicism and medieval towns and forms offered the example of outdoor rooms and a predominance of solids over voids. For the then Prince and his many followers, including vast members of the public, the use of a traditional architectural style as infill in a classically inspired building setting was “good” design practice. At this point, ironically, the retreat to historicism also comprised not only mimicking traditional details but also their playful reinterpretation through an esoteric postmodernism. But the topic of new into old had become confused: the critical issue was one of urban design and not the language of infill architecture. Three case studies within the historic core of the City of London, the basis of criticism in Charles’ speeches of 1984 and 1987, will be explored through the popular press in order to understand their lessons and relevance to the complexity of current contemporary conflicts in historic urban areas.
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Nilforoushan, M., R. Hanna, and H. Sadeghi Naeini. "Application of modern models of sustainable architecture in the use of natural light and effective utilization of energy in schools: a comparative study of Glasgow (Great Britain) and Isfahan (Iran)." In LIGHT 2011. Southampton, UK: WIT Press, 2011. http://dx.doi.org/10.2495/light110051.

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Campos, João. "The superb Brazilian Fortresses of Macapá and Príncipe da Beira." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11520.

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During the eighteenth century Portugal developed a large military construction process in the Ultramarine possessions, in order to compete with the new born colonial trading empires, mainly Great Britain, Netherlands and France. The Portuguese colonial seashores of the Atlantic Ocean (since the middle of the sixteenth century) and of the Indian Ocean (from the end of the first quarter of the seventeenth century) were repeatedly coveted, and the huge Portuguese colony of Brazil was also harassed in the south during the eighteenth century –here due to problems in a diplomatic and military dispute with Spain, related with the global frontiers’ design of the Iberian colonies. The Treaty of Madrid (1750) had specifically abrogated the Treaty of Tordesillas (1494) between Portugal and Spain, and the limits of Brazil began to be defined on the field. Macapá is situated in the western branch of Amazonas delta, in the singular cross-point of the Equator with Tordesillas Meridian, and the construction of a big fortress began in the year of 1764 under direction of Enrico Antonio Galluzzi, an Italian engineer contracted by Portuguese administration to the Commission of Delimitation, which arrived in Brazil in 1753. In consequence of the political panorama in Europe after the Seven Years War (1756-1763), a new agreement between Portugal and Spain was negotiated (after the regional conflict in South America), achieved to the Treaty of San Idefonso (1777), which warranted the integration of the Amazonas basin. It was strategic the decision to build, one year before, the huge fortress of Príncipe da Beira, arduously realized in the most interior of the sub-continent, 2000 km from the sea throughout the only possible connection by rivers navigation. Domingos Sambucetti, another Italian engineer, was the designer and conductor of the jobs held on the right bank of Guaporé River, future frontier’s line with Bolivia. São José de Macapá and Príncipe da Beira are two big fortresses Vauban’ style, built under very similar projects by two Italian engineers (each one dead with malaria in the course of building), with the observance of the most exigent rules of the treaties of military architecture.
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Nezhadmasoum, Sanaz, and Nevter Zafer Comert. "Historic-geographical and Typo-morphological assessment of Lefke town, North Cyprus." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6254.

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Historic-geographical and Typo-morphological assessment of Lefke town, North Cyprus Sanaz Nezhadmasoum¹, Nevter Zafer Comert² Department of Architecture. Eastern Mediterranean University. Famagusta. North Cyprus.Via Mersin 10. Turkey E-mail: sanaz.nezhadmasoum@gmail.com, nzafer@gmail.com Keywords: Historic-geographic approach, Typo-morphology, Urban form, Lefke town Conference topics and scale: Urban morphological methods and techniques Morphological analysis in cities have been employed to conduct the research on the urban form and fabric of the place, that helps to determine the conservation plans or strategies of towns that reveal clues to their own history (Whithand,2001). Such analysis methods are a process that reviews the evolution and evaluation of towns throughout history. This paper focuses on, Conzen’s and Caniggia’s ideas, MRG Conzen’s historic-geographical approaches (1968) on planning level and Caniggia’s typo-morphological process (2001) on architectural level. Those methodologies help to understand the transformation procedure of different regions of city throughout the years and recovering how the city elements and urban hierarchy are interrelated. Additionally, the focus of this paper is to study the town’s morphological transformations, regarding its spatial, geographical and historical combinations. Within this context, Geographical and historical surveys done on the whole town of Lefke, in north-west Cyprus, and a detailed explanation on the typo-morphological analyses of some particular regions will be given in this article. One of the significant character that makes the town unique is its historical background which lay down with an organic urban pattern from Ottoman period. Lefke town was first formed with a medieval character, and through centuries of functional and physical transformations, has been highly influenced by British extensions, which were either prearranged modifications affected by socio- natural, economic, and political situations, or instinctive and spontaneous changes. All these historical factors, along with its geographical features, make Lefke an interesting case to be studied with an urban typo-morphological approach. References Caniggia G, Maffei G., 2001, Interpreing Basic building Architectural composition and building typology Alinea editrice, Firenze, Italy Cömert, N. Z., & Hoskara, S. O. (2013) ‘A typo-morphological study: the CMC industrial mass housing district, lefke, northern cyprus’, Open House International, 38(2), 16-30. Conzen, M. R. G. (1968) ‘The use of town plans in the study of urban history’, in Dyos, H. J. (ed.) The study of urban history (Edward Arnold, London) 113-30. Larkham, P. J. (2006) ‘The study of urban form in Great Britain’, Urban Morphology, 10(2), 117. Moudon, A. V. (1997) ‘Urban morphology as an emerging interdisciplinary field’, Urban morphology, 1(1), 3-10. Whitehand, J. W. (2001) ‘British urban morphology: the Conzenion tradition’, Urban Morphology, 5(2), 103-109.
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