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Relevant bibliographies by topics / Victorian architecture

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Journal articles

Academic literature on the topic 'Victorian architecture'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Victorian architecture"

1

Kaufman, Edward N. "Architectural Representation in Victorian England." Journal of the Society of Architectural Historians 46, no. 1 (1987): 30–38. http://dx.doi.org/10.2307/990143.

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Victorian architectural theorists believed that buildings were capable of conveying meanings in a direct and precise way, rather like books, paintings, or even orators. These meanings were understood to refer to things outside the building: architecture was thus conceived to be a representational form of art. This essay explores some of the consequences of this view. What subjects did Victorian buildings represent, and how did they do so? What criteria determined a building's adequacy as a representation? How, finally, did the demand for representational content shape the central Victorian concept of architectural truth?

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2

Dobraszczyk, Paul. "Victorian Market Halls, Ornamental Iron and Civic Intent." Architectural History 55 (2012): 173–96. http://dx.doi.org/10.1017/s0066622x00000095.

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This article focuses on the relationship between ornamental iron and the civic in British market halls, a subject which has been overlooked in the existing literature on their architectural development. Like many other forms of nineteenth-century retail architecture — shops, bazaars, arcades and department stores — market halls embraced the new architectural possibilities suggested by iron: increased floor-spans were made possible by wrought-iron joists, which could span greater distances than timber ones; the strength of cast-iron columns allowed larger openings in the external walls; and the increased availability and lower cost of glass meant that these openings could be glazed, allowing greater visibility of commodities. Yet, unlike much Victorian retail architecture, which was usually privately financed, market halls were explicitly articulated as public spaces. As such, there were problems in assimilating iron-and-glass structures into established notions of public architecture. In 1878, The Building News, in a discussion of London’s market buildings, argued that they should be ‘different from huge railway sheds and Crystal Palaces’ because their status as public buildings required some form of ‘artistic’ treatment. For many architects of market halls — in common with other new building types in the Victorian period, such as pumping stations, railway stations, exhibition halls and warehouses — the solution lay in a dual architectural identity: an exterior structure built in conventional building materials such as stone and brick, harmonizing with existing urban architecture; and an interior space supported by an independent iron-and-glass structure.

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3

Valen, Dustin. "On the Horticultural Origins of Victorian Glasshouse Culture." Journal of the Society of Architectural Historians 75, no. 4 (2016): 403–23. http://dx.doi.org/10.1525/jsah.2016.75.4.403.

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Designed to protect and propagate exotic plants from around the world, the nineteenth-century glasshouse was a topos for environmental concerns. While historians have pointed to the confluence of glasshouse horticulture and the rise of environmental thought in architecture, how and why these transfers took place is not well understood. In On the Horticultural Origins of Victorian Glasshouse Culture, Dustin Valen examines how gardening informed architectural production in nineteenth-century England by transmitting Victorian science into building culture. He explores how gardening periodicals and books served as vehicles for environmental and scientific thought, and how “artificial climates” made by horticulturalists were reinscribed in debates over human health and transformed into “medical climates” in architecture. Bridging these disciplinary boundaries, the glasshouse played a key role in the emerging environmental paradigm in architecture by crossbreeding building practices with scientific knowledge and illustrating how mechanical solutions could be applied to living problems.

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4

Holden, Roger N. "Victorian and Edwardian British Industrial Architecture." Industrial Archaeology Review 38, no. 2 (2016): 147–48. http://dx.doi.org/10.1080/03090728.2016.1248535.

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5

Armstrong, James P., Jeffrey M. Coleman, Charles T. Goodsell, Danielle S. Hollar, and Keith A. Hutchseon. "Social Meanings of Public Architecture: A Victorian Elucidation." Public Voices 3, no. 3 (2017): 7. http://dx.doi.org/10.22140/pv.369.

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A theoretical framework for social interpretation of public buildings is proposed. Seven types of social meaning attributable to such structures are identified, by which we mean forms of Ullderstanding apart from those associated with the standard architectural criteria of aesthetic quality and programmatic functionality. These types are named after John Ruskin's Seven Lamps of Architecture: Sacrifice, Truth, Power, Beauty, Life, Memory, and Obedience. Utilization of this analytic framework is illustrated by applying it to the State, War and Navy Building in Washington, D.C., now known as the Old Executive Office Building (OEOB).

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6

De Celis, David T. "The Charms of an American Queen Anne: Rediscovered a-lá COVID-19." Interiority 3, no. 2 (2020): 201–18. http://dx.doi.org/10.7454/in.v3i2.97.

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   This moment, the 2020 COVID-19 pandemic, has provided an opportunity—sometimes forced via crisis, or via moments of quiet reflection—to consider the inside, interior time and space, in new ways. In America, like other countries, architectural styles have come to us from foreign lands. Numerous domestic structures were influenced by British events from the 1700s–1800s. These styles—these architectures—were transformed by local/regional/national influences and events—events like this current international pandemic—that push the proverbial pause button, and cause us to re-think design. The author, who now resides and works (along with his family) in an 1886 Queen Anne style home, contemplates the various attributes and transformations of domestic architectures and the influences that shape them over time, asking: Why Queen Anne in America? How was it Victorian? And why is it relevant today? Empirical methods include observations and precedents-analysis, design work, the study of technological advances and interior-architecture history of the Victorian era. Emphasis on domesticity acknowledges both past and present by recognizing the importance of domestic architecture from the late 1700s through the 1800s, and into the present. Thus, we better understand how/why the Queen Anne style became ubiquitous in New England, and how its attributes of innate flexibility may help us today.  

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7

Meacham, Standish, and Deborah E. B. Weiner. "Architecture and Social Reform in Late-Victorian London." American Historical Review 101, no. 2 (1996): 491. http://dx.doi.org/10.2307/2170460.

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8

McMordie, Michael. "Crinson, Mark. Empire Building: Orientalism and Victorian Architecture." Urban History Review 27, no. 1 (1998): 74–75. http://dx.doi.org/10.7202/1016628ar.

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9

Stamp, Gavin. "High Victorian Gothic and the Architecture of Normandy." Journal of the Society of Architectural Historians 62, no. 2 (2003): 194–211. http://dx.doi.org/10.2307/3592477.

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High Victorian Gothic in England was an exotic style, and the importance of Italian Gothic precedents in its development has long been recognized, as has the interest in thirteenth-century French Gothic in the 1850s. What has received much less attention is the influence of the medieval buildings of Normandy. In this article, I examine the historical and cultural connections between England and Normandy, which were stimulated by the Napoleonic Wars and the threat of invasion, and were further encouraged by the ease of crossing the English Channel. Seeking the origins of English Gothic and Romanesque architecture, antiquaries and artists explored Normandy in the decades after Waterloo, anticipating the interest of architects. Whether the results of travel or study of a growing number of publications on the medieval architecture of Normandy, numerous midcentury buildings show intimate acquaintance with thirteenth-century churches in Normandy-old village churches with saddleback towers or distinctive spires, which, paradoxically, resemble High Victorian designs in their rugged austerity.

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10

Muthesius, Stefan. "Victorian Architecture: Diversity and Invention (review)." Victorian Review 36, no. 1 (2010): 235–36. http://dx.doi.org/10.1353/vcr.2010.0011.

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