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Books on the topic 'London. Home House'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Barnet Health Authority. Review Panel into the Deaths of Eight Patients Following their Transfer from Napsbury Hospitalto Elmstead House Nursing Home. Report of the Review Panel into the Deaths of Eight Patients Following their Transfer from Napsbury Hospital to Elmstead House Nursing Home. London: Barnet Health Authority, 1997.

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2

Gillam, Geoffrey. Forty Hall, Enfield, 1629-1997: House, courtyards, walled kitchen garden, pleasure grounds, park & home farm. Enfield: Enfield Archaeological Society, 1997.

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3

The town house in Georgian England. New Haven: Yale University Press, 2009.

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4

Red House: Bexleyheath. Bromley: National Trust, 2003.

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5

Segrave, Carrie. The new London property guide '04/05: The only guide you need to buying and selling, renting and letting homes in London. London: Mitchell Beazley, 2004.

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6

The new London property guide '02/03: The only guide you need to buying and selling, renting and letting homes in London. London: Mitchell Beazley, 2002.

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7

Artists' houses in London 1764-1914. Aldershot, Hants, England: Scolar Press, 1994.

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8

Friedman, Joe. Spencer House: Chronicle of a great London mansion. London: Zwemmer, 1993.

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9

William Morris & Red House. London: National Trust, 2005.

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10

Apartment stories: City and home in nineteenth-century Paris and London. Berkeley: University of California Press, 1999.

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11

Newton, Miranda H. Architects' London houses: The homes of thirty architects since the 1930s. Oxford [England]: Butterworth Architecture, 1992.

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12

Gallery, Watts, ed. G.F. Watts in Kensington: Little Holland House and Gallery. Compton, Surrey: Watts Gallery, 2009.

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13

Clary, Julian. Briefs encountered. [London]: Ebury Press, 2012.

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14

Chalcraft, Anna. A paper house: Horace Walpole at Strawberry Hill. Beverley [England]: Highgate Publications, 1998.

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15

No. 10 Downing Street: The story of a house. London: Leisure Circle, 1985.

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16

Jones, Christopher. No 10 Downing Street: The story of a house. London: B.B.C., 1985.

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17

Dr. Johnson's London: Coffee-houses and climbing boys, medicine, toothpaste and gin, poverty and press-gangs, freakshows and female education. New York: St. Martin's Press, 2001.

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18

Peter, Allison, Enwezor Okwui, and Whitechapel Art Gallery, eds. David Adjaye: Making public buildings : specificity, customization, imbrication. London: Thames & Hudson, 2006.

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19

Harris, Eileen. Home House: Adam versus Wyatt. 1997.

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20

Eat, drink, nap: Bring the House home. 2014.

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21

The Daily Telegraph Guide To Commuterland Finding A Home Within Reach Of London. Aurum Press Ltd, 2009.

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22

Cruickshank, Dan. Art into architecture: The conversion of the Strand block of Somerset House to provide a new home for the CourtauldInstitute ... . 1990.

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23

Our House. Berkley, 2019.

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24

Candlish, Louise. Our house. 2018.

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25

Our House. Thorndike Press, 2018.

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26

Our House. Simon & Schuster, Limited, 2018.

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27

Candlish, Louise. Our House. Simon & Schuster, Limited, 2018.

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28

Our house. Berkley, 2018.

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29

Harrison, Jodie. Morning, noon, night: A way of living. 2016.

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30

Burlington House: An Architectural History of the Home of the Royal Academy of Arts. Royal Academy of Arts, 2018.

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31

Home style by city: Ideas and inspiration from Paris, London, New York, Los Angeles, and Copenhagen. Chronicle Books, 2014.

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32

Grand Opera House, London, Ontario: James A. Herne's beautiful play of American home life "Shore acres", direction of Henry C. Miner .. [Lonodn, Ont.?: s.n., 1986.

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33

Candlish, Louise. Our House: Winner of the Crime and Thriller Book of the Year 2019. Simon & Schuster, Limited, 2018.

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34

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Season 1897-98, Christmas only, The Cummings Stock Co., direct from Princess Theatre, Toronto, presenting "All the comforts of home" .. [S.l: s.n., 1986.

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35

Penrose, Angela. Epilogue. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198753940.003.0016.

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In 2016, anyone hurrying between Malet Street and SOAS in the centre of the University of London, past towering Senate House during its conversion into a magnificent new home for SOAS in time for its centenary celebrations, would have been surprised to see Edith, larger than life, energetically instructing them from the wooden hoarding encircling the construction site (...

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36

Lavezzo, Kathy. The Accommodated Jew. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501703157.001.0001.

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England during the Middle Ages was at the forefront of European antisemitism. It was in medieval Norwich that the notorious “blood libel” was first introduced when a resident accused the city's Jewish leaders of abducting and ritually murdering a local boy. This book rethinks the complex and contradictory relation between England's rejection of “the Jew” and the centrality of Jews to classic English literature. Drawing on literary, historical, and cartographic texts, the book charts an entangled Jewish imaginative presence in English culture. It tracks how English writers from Bede to John Milton imagine Jews via buildings—tombs, latrines and especially houses—that support fantasies of exile. Epitomizing this trope is the blood libel and its implication that Jews cannot be accommodated in England because of the anti-Christian violence they allegedly perform in their homes. In the Croxton Play of the Sacrament, Marlowe's The Jew of Malta, and Shakespeare's The Merchant of Venice, the Jewish house not only serves as a lethal trap but also as the site of an emerging bourgeoisie incompatible with Christian pieties. In the book's epilogue, the chapters advance the inquiry into Victorian England and the relationship between Charles Dickens (whose Fagin is the second most infamous Jew in English literature after Shylock) and the Jewish couple that purchased his London home, Tavistock House, showing how far relations between gentiles and Jews in England had (and had not) evolved.

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37

Grand Opera House, London, Ont., season 1899-1900, programme: Matinee and night, Saturday, December 23rd, Mr. W.H. Wright's production of George H. Broadhurst's second Anglo-American farcical success Why Smith left home .. [London, Ont.?: s.n., 1986.

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38

Morris, Pam. The Years: Moment of Transition. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474419130.003.0007.

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In The Years, Woolf foregrounds the private house as materialised geography of multiple force fields of change and conservatism. The house constitutes the interface between the biological necessities of embodied creatures and the regulatory, reiterative codes of gender and class that produce identity. Woolf attends to a moment in the 1930s when large scale public provision of housing and the necessary infrastructure of utilities extended the public terrain into what had previously been the private domain. The potential convergence of class values and life style, brought about by extension of plumbing and wiring, however, came into conflict with demand for home-owning consumerism and privacy. Woolf brings into visibility and audibility the common life of London streets and the shared realm of the physical world in opposition to the regulated individualism sheltered in the family house.

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39

Society, William Morris, ed. Red House: A guide. (London): William Morris Society, 1993.

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40

Spencer House: Chronicle of a Great London Mansion. Zwemmer, 1993.

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41

Marcus, Sharon. Apartment Stories: City and Home in Nineteenth-Century Paris and London. University of California Press, 1999.

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42

Famous houses and literary shrines of London. Barnes & Noble, 1993.

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43

Gallent, Nick. Whose Housing Crisis? Policy Press, 2019. http://dx.doi.org/10.1332/policypress/9781447345312.001.0001.

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England, and especially London, remain in the grip of a housing cost crisis marked by extraordinary ratios between median house prices and workplace earnings. House prices have continued to rise over the last decade despite a stagnation in earnings. At the root of the crisis is the problematic relationship that individuals and economies share with residential property. Housing’s social purpose, as home, is frequently relegated behind its economic function, as asset, able to offer a hedge against weakening pensions or source of investment and equity release for individuals, or guarantee rising public revenues, sustain consumer confidence and provide evidence of ‘growth’ for economies. England’s economy – along with that of the rest of the UK – has been on a long transition away from manufacturing for several decades. It is now reliant on services and particularly the financial services associated with real estate consumption and debt production. This book explores the 'UK's economic transition and examines associated housing outcomes. The re-functioning of housing in the twentieth century is a cause of great social inequality, as housing becomes a place to park and extract wealth. What can be done to address this inequality and what role might planning play in delivering fairer outcomes and in re-prioritising housing’s social function?

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44

Marsh, Jan. William Morris and Red House: A Collaboration Between Architect and Owner. National Trust, The, 2006.

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45

Wright, Laura. Sunnyside. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266557.001.0001.

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This book traces developments in the history of British house-names from the tenth century, beginning with medieval house-naming practices referencing the householder’s name, the householder’s occupation, and the appearance of the house. In the early fourteenth century heraldic names appeared on commercial premises: tavern names such as la Worm on the Hope, and shop names such as the Golden Tea Kettle & Speaking Trumpet. From the eighteenth century five main categories are identified: the transferred place-name, the nostalgically rural, the commemorative, names associated with the nobility, and the latest fashion or fad. From the nineteenth century new developments are ‘pick & mix’ names consisting of uncoupled elements from British place-names joined together in new combinations, and jocular house-names. Historically, the house-name Sunnyside predominates in Scotland, and is traced through Middle English, Medieval Latin, Anglo-Norman French Scottish Gaelic, and the influence of Old Norse, recording a prehistoric Nordic land-division practice known as solskifte. It was spread southwards in the eighteenth century by Nonconformists, and became a Quaker shibboleth. Quakers took the name to North America where it remains in use as a church name. A specific historic Sunnyside in the Scottish Borders influenced author Washington Irving to name his famous New York Sunnyside, which boosted the name’s popularity. London Sunnysides of the 1870s were grand suburban residences owned by rich industrialist Nonconformists with Scottish family ties, confirming the trend.

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46

The Queen's House. Scala Arts Publishers Inc., 2012.

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47

The Arts And Crafts Country House From The Archives Of Country Life. Aurum Press, 2012.

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48

Jones, Christopher. No 10 Downing Street: The Story of a House. HarperCollins, 1986.

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49

Maria, Hayward, and Society of Antiquaries of London., eds. The 1542 inventory of Whitehall: The palace and its keeper. London: Illuminata Publishers for The Society of Antiquaries of London, 2004.

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50

Dasgupta, Ushashi. Charles Dickens and the Properties of Fiction. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859116.001.0001.

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This book explores the significance of rental culture in Charles Dickens’s fiction and journalism. It reveals tenancy, or the leasing of real estate in exchange for money, to be a governing force in everyday life in the nineteenth century. It casts a light into back attics and landladies’ parlours, and follows a host of characters—from slum landlords exploiting their tenants, to pairs of friends deciding to live together and share the rent. In this period, tenancy shaped individuals, structured communities, and fascinated writers. The vast majority of London’s population had an immediate economic relationship with the houses and rooms they inhabited, and Dickens was highly attuned to the social, psychological, and imaginative corollaries of this phenomenon. He may have been read as an overwhelming proponent of middle-class domestic ideology, but if we look closely, we see that his fictional universe is a dense network of rented spaces. He is comfortable in what he calls the ‘lodger world’, and he locates versions of home in a multitude of unlikely places. These are not mere settings, waiting to be recreated faithfully; rented space does not simply provide a backdrop for incident in the nineteenth-century novel. Instead, it plays an important part in influencing what takes place. For Dickens, to write about tenancy can often mean to write about writing—character, authorship, and literary collaboration. More than anything, he celebrates the fact that unassuming houses brim with narrative potential: comedies, romances, mysteries, and comings-of-age take place behind their doors.

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