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"The diverse works of architect Nicholas Hawksmoor (?1661-1736) ranged from small architectural details to ambitious urban plans, from new parish churches to work on the monument of his age, St. Paul's cathedral. As a young man Hawksmoor assisted Christopher Wren and John Vanbrugh, emerging from these formidable apprenticeships to design some of the most vigorous and dramatic buildings in England. In this engaging book, architectural historian Vaughan Hart presents a fresh view of Hawksmoor's built and planned work. In addition, Hart offers the first coherent explanation of Hawksmoor's theory of architecture." "Most famous for his brooding London churches and the mausoleum at Castle Howard, Hawksmoor also designed the twin towers of Westminster Abbey and, in Oxford, the Clarendon Building and college of All Souls. He dreamed of transforming the historic centres of Oxford and Cambridge into ideal cities, and at Westminster he planned a new bridge and triumphal route to celebrate London's growing status as a world capital. Hart explains why Hawksmoor's buildings look the way they do, what contemporary events influenced his work, and how such ancient buildings as Solomon's temple and Mausolus's tomb inspired him. Underscoring the unique qualities of the architect's accomplishments and aspirations, Hart establishes with new clarity Hawksmoor's role in the development of English architecture."--BOOK JACKET.
First published in the late 1950s, this was the first major study of Nicholas Hawksmoor (1661-1736), a student and collaborator of Christopher Wren and John Vanbrugh and one of Britain's outstanding baroque architects.
The publication focuses on a series of important London churches the architect designed during the early part of the eighteenth century. Photographer Hélène Binet was specially commissioned to document the various aspects of the seven remaining London churches. Her immaculate black and white photographs demonstrate the beauty of Hawksmoor's architecture with special attention to the variety of scales, sites, interiors, textures, and materials."
Nicholas Hawksmoor (1662–1736) is one of English history’s greatest architects, outshone only by Christopher Wren, under whom he served as an apprentice. A major figure in his own time, he was involved in nearly all the grandest architectural projects of his age, and he is best known for his London churches, six of which still stand today. Hawksmoor wasn’t always appreciated, however: for decades after his death, he was seen as at best a second-rate talent. From the Shadows tells the story of the resurrection of his reputation, showing how over the years his work was ignored, abused, and altered—and, finally, recovered and celebrated. It is a story of the triumph of talent and of the power of appreciative admirers like T. S. Eliot, James Stirling, Robert Venturi, and Peter Ackroyd, all of whom played a role in the twentieth-century recovery of Hawksmoor’s reputation.
Six remarkable churches built by Nicholas Hawksmoor from 1712 to 1731 still stand in London. In this book, architectural historian Pierre de la Ruffinière du Prey examines these designs as a coherent whole—a single masterpiece reflecting both Hawksmoor's design principles and his desire to reconnect, architecturally, with the "purest days of Christianity."
The making of shadows is an act as old as architecture itself. From the gloom of the medieval hearth through to the masterworks of modernism, shadows have been an essential yet neglected presence in architectural history. Shadow-Makers tells for the first time the history of shadows in architecture. It weaves together a rich narrative – combining close readings of significant buildings both ancient and modern with architectural theory and art history – to reveal the key places and moments where shadows shaped architecture in distinctive and dynamic ways. It shows how shadows are used as an architectural instrument of form, composition, and visual effect, while also exploring the deeper cultural context – tracing differing conceptions of their meaning and symbolism, whether as places of refuge, devotion, terror, occult practice, sublime experience or as metaphors of the unconscious. Within a chronological framework encompassing medieval, baroque, enlightenment, sublime, picturesque, and modernist movements, a wide range of topics are explored, from Hawksmoor's London churches, Japanese temple complexes and the shade-patterns of Islamic cities, to Ruskin in Venice and Aldo Rossi and Louis Kahn in the 20th century. This beautifully-illustrated study seeks to understand the work of these shadow-makers through their drawings, their writings, and through the masterpieces they built.
Seminar paper from the year 2000 in the subject English Language and Literature Studies - Literature, grade: 2,0, Bielefeld University (Fakultat fur Linguistik und Literaturwissenschaft), course: Prosa der Postmoderne, 13 entries in the bibliography, language: English, abstract: Usually a novel contains a beginning, a middle and an end. That is what the reader expects from the majority of books. This convention is not only based on the presumption that only by this sequence of beginning, middle and end a reader will find the reading of a novel rewarding but there are also theoretical concepts demanding this structure. Mendilow points out that Aristotle was one of the first to stress the meaning of a general structure in a piece of literature. According to Aristotle [e]in Ganzes ist, was Anfang, Mitte und Ende hat. Ein Anfang ist, was selbst nicht mit Notwendigkeit auf etwas anderes folgt, nach dem jedoch naturlicherweise etwas anderes eintritt oder entsteht. Ein Ende ist umgekehrt, was selbst naturlicherweise auf etwas anderes folgt, und zwar notwendigerweise oder in der Regel, wahrend nach ihm nichts anderes mehr eintritt. Eine Mitte ist, was sowohl selbst auf etwas anderes folgt als auch etwas anderes nach sich zieht. This concept is true for realistic novels but it falls short for most of the postmodern novels. In this paper I will show how the structure of a linear plot is given up in Peter Ackroyd's novel Hawksmoor. The sequence of beginning, middle and end evokes that all events are linked by a chain of causality. In Hawksmoor the chain of causality and the linear concept of time are replaced by a circular concept of time. The events in the novel and in particular the murders cannot be explained by the principle of causality. In my paper I will analyse the concept of time in Ackroyd's novel. As a first step I will point out the relation of the novel to the historical figure Nicholas

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