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Relevant bibliographies by topics / Victorian architecture

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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"

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Kaufman, Edward N. "Architectural Representation in Victorian England." Journal of the Society of Architectural Historians 46, no. 1 (March 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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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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Valen, Dustin. "On the Horticultural Origins of Victorian Glasshouse Culture." Journal of the Society of Architectural Historians 75, no. 4 (December 1, 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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Holden, Roger N. "Victorian and Edwardian British Industrial Architecture." Industrial Archaeology Review 38, no. 2 (July 2, 2016): 147–48. http://dx.doi.org/10.1080/03090728.2016.1248535.

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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 (April 11, 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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De Celis, David T. "The Charms of an American Queen Anne: Rediscovered a-lá COVID-19." Interiority 3, no. 2 (July 30, 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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Meacham, Standish, and Deborah E. B. Weiner. "Architecture and Social Reform in Late-Victorian London." American Historical Review 101, no. 2 (April 1996): 491. http://dx.doi.org/10.2307/2170460.

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

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Stamp, Gavin. "High Victorian Gothic and the Architecture of Normandy." Journal of the Society of Architectural Historians 62, no. 2 (June 1, 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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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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Dissertations / Theses on the topic "Victorian architecture"

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London, Christopher W. "British architecture in Victorian Bombay." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385562.

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Holder, R. J. "Victorian classical town halls." Thesis, University of Reading, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373468.

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Bingham, Neil R. "Victorian and Edwardian Whitehall : architecture and planning 1865-1918." Thesis, Royal Holloway, University of London, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364535.

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Acar, Sibel. "Intersections:architecture And Photography In Victorian Britain." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611169/index.pdf.

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Architecture and photography have always been closely interacted since the invention of photography in the late 1830s.While architecture has been captured as one of the main subjects of photography, photography has served architecture as a valuable tool of representation. Focusing on the frame defined by Victorian Britain, this study tries to capture intersecting histories between photography and architecture. Accordingly three intersections were defined: the first intersection corresponds to the simultaneous development of photography and architectural photography
the second to theinteraction between architectural photography and architectural theory/practice
and the third to the relation between architectural photography and architectural historiography.

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Sutherland, Helen Margaret. "The function of fantasy in Victorian literature, art and architecture." Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/5183/.

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In this thesis I examine the ways in which the Victorians used fantasy in literature, art, and architecture to explore the main areas of debate and key issues which were giving rise to anxiety in their society, in some cases upholding the status quo, but in others questioning accepted social mores. In particular, I consider the ways in which fantasy was used to examine what happens in a society when its traditional religious beliefs are challenged, either by commercialism as an economic creed, or by the acquisition of new knowledge, be this in the realm of science (theories of evolution) or the humanities (the new biblical criticism from Germany). Following on from this, I look at the possible alternatives to traditional religious belief which fantasy seemed able to offer to an age which appeared to need spirituality without dogma. I argue that one of the strategies most commonly adopted by the Victorians in the creation of fantasy is the disruption of time, and I consider the part played in literature and art by medievalism, and in architecture by the Gothic style and the Gothic Revival movement. This is followed by an examination of the role of Classicism in architecture, and ancient mythologies, such as Greek, Hebraic, or Babylonian, in literature and art. Finally, I consider the use of geological time as a point of departure in creating scientific fantasies. Given the very close links between the arts until the advent of aesthetic criticism at the end of the nineteenth century, I have drawn freely upon the visual and the literary arts. The main emphasis is, however, on literature and painting, with architecture playing a lesser, though still important, part in this thesis.

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Burgess, Jon. "Lockwood and Mawson of Bradford and London." Thesis, De Montfort University, 1998. http://hdl.handle.net/2086/4152.

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Clarkson, Peter. "Chivalry and medievalism in Cheltenham's Victorian public schools 1841-1918." Thesis, University of Bath, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275783.

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Whilst the chivalric aspect of public schools has received some academic attention, most notably from Mark Girouard in The Return to Camelot (1981) where he explored Clifton College, few authors have examined provincial public school architecture using an approach that goes beyond mere description. Girouard's work was the departure for my own thesis. There has been no adequate or full study of the influence of chivalry, its history and myths, on the architecture of public schools and the effect that the resulting Gothic ambience had on students. Previous studies concentrated exclusively on boys' schools; my thesis is the first study to contrast the effect of the chivalric myths between Cheltenham College (1841) and Cheltenham Ladies' College (1854), undeniably crucial exemplars of Victorian public schools. These schools were established in a formative period for modern Britain, a period of urbanism, educational revolution and religious revival - all of which have left an imprint on their architecture. The close physical proximity and foundation dates of the schools, their shared governors, architects and patrons, make them an appropriate, rewarding and self-contained case study. The provincial location of these schools has allowed their architecture to be overshadowed by their more illustrious cousins. I contend that both schools inhabit buildings of outstanding architectural importance deserving of attention.

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Griffith, Joann D. ""All Men are Builders": Architectural Structures in the Victorian Novel." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/316376.

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English
Ph.D.
Nineteenth-century Britain experienced a confluence of a rapidly urbanizing physical environment, radical changes in the hierarchical relationships in society as well as in the natural sciences, and a nostalgic fascination with antiquities, especially gothic architecture. The realist novels of this period reflect this tension between dramatic social restructuring and a conservative impulse to remember and maintain the world as it has been. This dissertation focuses on the word structure to unpack the implications of these opposing forces, both for our understanding of the social structures that novels reflect, and the narrative structures that novels create. To address these issues, I examine the architectural structures described in Victorian realist novels, drawing parallels with their social and narrative structures. In Charles Dickens's Little Dorrit (1855), George Eliot's Adam Bede (1859), and Thomas Hardy's The Mayor of Casterbridge (1886) and Jude the Obscure (1895), descriptions of houses and barns, churches and cathedrals, shops and factories, and courthouses and schools are thematically important because they draw our attention to the novels' interest in the social structures that underlie the fictional worlds they represent. Buildings provide spaces where members of a community may work towards a shared purpose; they also embody that community's common knowledge, values, and ideals. These novels take up the thematic concern with structure through their own formal narrative structuring work. Much like an architect builds a physical structure, novels build a narrative structure by carefully arranging patterns, sequences, proportions, and perspectives. An examination of a novel's description of a building reveals moments of self-reflexive consideration of the narratives it constructs. These are moments that interrogate the building materials of narrative and how their arrangement becomes meaningful, that consider what the narrative structure can accommodate and what it excludes, and that invite us to attend to the ways in which the act of structuring a narrative situates it in time, in relation to the past, present, and future. The choices an architect makes about ornaments and materials, the way a building integrates the surrounding environment, and the way its proportions compare to a human scale, all constitute a kind of language; moreover, the way people interact with, in, and around these built spaces suggests it is a dynamic and evolving language. Preeminent Victorian art and social critic John Ruskin's architectural treatise, The Seven Lamps of Architecture (1849) serves as a master key to interpreting the Victorian understanding of architectural language in the novels under investigation. Because Ruskin's writings pervaded mid-century artistic discourse, and because he turned his critical gaze on such a wide range of the mid-nineteenth century's most important aesthetic, social, philosophical, and ethical concerns, his work provides an invaluable bridge between the physical, social, and narrative structures in these novels. Each of Ruskin's "lamps" represents a specific architectural principle; each chapter in this project pairs a novel with a lamp with thematic and formal resonance.
Temple University--Theses

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Orrin, Geoffrey. "Church building and restoration in Victorian Glamorgan, 1837-1901." Thesis, University of Wales Trinity Saint David, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683172.

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Hembree, Bridget. "Designing Victorian London : the career of James Bunstone Bunning, city architect." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708992.

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Books on the topic "Victorian architecture"

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Plante, Ellen M. Formal Victorian. New York, N.Y: Friedman/Fairfax Publishers, 1996.

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Goad, Philip. Momentum: New Victorian architecture. Carlton, Vic: Melbourne University Pub., 2012.

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Sarah, Macready, and Thompson F. H, eds. Influences in Victorian art and architecture. London: Society of Antiquaries, 1985.

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Greiff, Constance M. Early Victorian. New York: Abbeville Press, 1995.

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O'Dwyer, Frederick. Victorian Dublin. Dublin: University College Dublin, Department of Environmental Studies, 1988.

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Fields, Tim. The secret life of Victorian houses. Washington, D.C: Elliott & Clark, 1993.

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Lamberson, Warren Beth, ed. Victorian bonanza: Victorian architecture of the Rocky Mountain West. Flagstaff, AZ: Northland Pub., 1989.

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Cunningham, Colin. Building for the Victorians. Cambridge: Cambridge University Press, 1985.

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Daly, Mary E. Dublin's Victorian houses. Dublin, Ireland: A. & A. Farmar, 1998.

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Vance, Mary A. Victorian architecture: Monographs published 1976-1987. Monticello, Ill., USA: Vance Bibliographies, 1987.

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Book chapters on the topic "Victorian architecture"

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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "‘Stained Glass as an Accessory to Domestic Architecture’." In Victorian Material Culture, 225–29. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-73.

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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "David Brewster, ‘Application of the Stereoscope to Sculpture, Architecture and Engineering’." In Victorian Material Culture, 180–81. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-60.

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Clements, Elicia. "Pater’s Musical Imagination: The Aural Architecture of ‘The School of Giorgione’ and Marius the Epicurean." In Victorian Aesthetic Conditions, 152–66. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281431_10.

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Newsom Kerr, Matthew L. "Machines of Security: Architecture, Geography, and Metropolitan Governance." In Contagion, Isolation, and Biopolitics in Victorian London, 171–230. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65768-4_5.

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Bucklow, Spike. "Morris, Leach, Parr, and Gothic mural decoration in Victorian Cambridge." In Medieval Art, Architecture and Archaeology in Cambridge, 351–64. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003244981-16.

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Matyjaszkiewicz, Krystyna, and Briony Llewellyn. "“Splendid Architectural Paintings”." In Victorian Artists’ Autograph Replicas, 167–79. New York : Routledge, 2020. | Series: British art: histories and interpretations since 1700: Routledge, 2020. http://dx.doi.org/10.4324/9780367145835-17.

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Felson, Alexander J., and Nano Langenheim. "Fisherman's Bend, Victoria, Australia." In Landscape Architecture for Sea Level Rise, 90–102. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003183419-12.

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Schnapp, Jeffrey. "Small victories (“BZ ’18–’45”)." In The Routledge Companion to Italian Fascist Architecture, 533–45. Abingdon, Oxon ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429328435-50.

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Schilling, Martina. "Y a-t-il une architecture victorine?" In L’école de Saint-Victor de Paris, 475–91. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.bv-eb.3.4423.

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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "Winsor and Newton's Catalogue of Colours and Materials for Watercolour Painting, Pencil, Chalk, Architectural Drawing." In Victorian Material Culture, 26. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-5.

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Conference papers on the topic "Victorian architecture"

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Goad, Philip. "Designing a Critical Voice: Discourse and the Victorian Architectural Students Society (VASS), 1907-1961." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3992pwp5p.

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Students are a necessary part of the architecture profession. Their training and preparation have long been key to maintaining the business and culture of architecture, and in doing so perpetuating traditional territories that control the institutionalisation of a profession. Students have also created their own associations, often mirroring, and at the instigation of, their parent organizations. More often than not though, in addition to acting as social binders and playing out the role of disciplinary ‘club’, these associations have developed a critical voice, urging change and injecting critique: in short, setting the basis for the framing of a local discourse. Using its publications as primary source material, this paper explores the critical activities of the Victorian Architectural Students Society (VASS), which developed under the auspices of the Royal Victorian Institute of Architects (RVIA). VASS published its annual from 1908, which evolved by 1932 to become Lines and, then additionally in 1939, students Robin Boyd and Roy Simpson expanded VASS’s publishing remit, producing the oft-controversial fold-away pamphlet Smudges that infamously gave ‘blots’ and ‘bouquets’ to new buildings. In 1947, VASS published Victorian Modern, Australia’s first polemical history of modern architecture and in 1952, it was the first publisher of the influential journal, Architecture and Arts. This paper examines the shifting ambitions of VASS, its chief protagonists, the role of graphics and the deft blending of the social, satirical and the critical that eventually framed and shaped Victoria’s architecture culture after World War II.

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Burns, Karen. "Women, Care, and the Settler Nation: The Victorian Country Women’s Association, 1928." 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/a5015p7rux.

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Care has long been a gendered attribute, frequently associated with women but rarely, until very recently, understood as an ethic and action shaping the built environment. This paper proposes using the lens of care to uncover women’s material culture contributions to the built environment. Histories that focus on the formal intersection of architecture and town planning and their professional identities can exclude women makers who, historically had to find other ways to shape built material culture. Under the rubric of care, this paper examines how women makers worked in applied art media across a range of “care” sites through the post-suffrage organisation, the Victorian branch of the Country Women’s Association (CWA). This philanthropic organisation was established in 1928 to advance the rights and care of women, children, and families in regional areas. Through exhibitions, media, touring lecturers and an affiliation with the Victorian Arts and Crafts Society, the CWA Victoria used craft and domestic material culture to democratise craft ideals and ameliorate poor environments in rural homes and towns. It fostered public health, welfare and the comfort and repair of self and communities. Through these means the organisation also provided support for the influx of new arrivals generated from the post-war rural reconstruction schemes of soldier settlement and mass migration from Britain. These larger projects allied the CWA Victoria organisation to a post-war settler identity which reanimated settler myths of land. In early twentieth-century Australia, care of the settler, built environment was gendered and racialised, an event that prompts an intersectional reassessment of the feminist model of care.

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Maranelli, Francesco. "Engineering Melbourne’s “Great Structural- Functional Idea”: Aspects of the Victorian Post-war “Rapprôchement” between Architecture and Engineering." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3998puxe9.

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In 1963, Robin Boyd wrote about a post-war “rapprôchement” between the disciplines of structural engineering and architecture. Etymologically, the term suggests the movement of two entities that draw closer to each other, either in an unprecedented fashion or resuming a suspended interaction. World War II and the “anxieties and stimulations” of the post-war period, to use Boyd’s expression, accelerated the process of overcoming longstanding educational and professional disciplinary barriers. They were the driving forces behind what he denominated the “great structural-functional idea” of the 1950s. Architecture schools embraced modernist/functionalist ideals, producing graduates with considerable technical knowledge - true “romantic engineers.” The global post-war fascination with unconventional structures played its part. Occasionally, Antoine Picon argues, architecture’s “symbolic and aesthetic discourses” walk a “strictly technical path.” Under the banner of Le Corbusier’s Esthétique de l’Ingénieur, architecture and engineering converged. New technologies made collaborations with engineers habitual. According to Andrew Saint, however, partnerships were rarely affairs of equals since “architectural jobs came to architects first.” The diversification and growing number of engineers also transformed them into a labour force, Picon suggests, affecting their prestige and, possibly, their historiographical fortune. Scholarship on post-war Melbourne architecture has generally privileged the architect as the protagonist in the creation of innovative structures, only occasionally acknowledging consultants. This does not reflect the concerted nature of design commissions and frequent evanescence of disciplinary boundaries. This paper aims to highlight the major playing grounds for this alignment within design professions. It also hints at the complex relationship between the contributions of Victorian engineers and their recognition by post-war newspapers and architectural journals, opening the analysis of Melbourne’s post-war architecture to the discourse of professional representation and arguing the importance of “unbiased” histories of the built environment.

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Softaoğlu, Hidayet. "Unhuman Entities that Shaped a Century: Non- Anthropocentric Analysis of the Case of Great Stink and Pandemic, Victorian London." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 20-21 May 2021. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021268n5.

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The history of architectural and urban design has expanded its scope and started adopting new philosophical approaches from other disciplines to explore the built environment. Theorist discusses whether we still live in a humanist world where a human being has more priority over the unhuman things or not to answer that; should we design architecture and urban within an anthropocentric approach. As a recent pandemic show, things that are not human, like animals or viruses, could control and navigate a new style of living. This research will introduce Bruno Latour's ANT and Graham Harman's Object-Oriented Ontology (OOO) as a new constructive method to analyse how human and unhuman bodies are equally the affective actors of daily practices in the urban realm. 19th-century Great Stink and epidemic in Victorian London will be a case study to picture urban dwellers of London that shaped determined the destiny of health and hygiene of London in 1858.

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Chekmarev, Vladimir, and Maria Sokolova. "Tudor Mansion on the Crimean Shore: M.S.Vorontsov’s Palace in Aloupka Seen in the Context of the British Victorian Country House Architecture." In Proceedings of the 2019 International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ahti-19.2019.26.

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Roark, Ryan. "Dystopia, Climate Change and Heritage Conservation in the Late Nineteenth Century." 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/a5037py0jq.

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The architectural conservation and restoration movements emerged in the Western world in the mid-nineteenth century, in part as a reaction to the acceleration of visible aging of buildings caused by the Industrial Revolution and associated changes in air quality. At the same time, Enlightenment ideals established at the end of the eighteenth century reinforced the relatively new idea that a building could have a single author and a fixed state. A new drive towards ‘restoration’ – the return of a building to a glorified singular past state – led William Morris in 1877 to establish the Society for the Protection of Ancient Buildings (SPAB), whose manifesto marked the dawn of the age of conservation and essentially prohibited any interference with old buildings. What emerged was a debate between those who favoured “scraping” (restorationists, e.g. nineteenth-century French architect Viollet-le-Duc) and those who were “anti-scrape” (conservationists, e.g. nineteenth-century English architecture writer John Ruskin and architect William Morris). Recent scholarship in English and eco-critical studies by Jesse Oak Taylor, Philip Steer, Heidi Scott and others has drawn attention to anxieties about climate change that began early as the mid-nineteenth century and became widespread by the turn of the twentieth, as manifest in Victorian-era English-language literature. Little has been written about the influence of such anxieties on architects at the time, although John Ruskin’s lecture “The Storm Cloud of the Nineteenth Century” (1884) is possibly the first public lecture explicitly hypothesizing anthropogenic climate change. This paper examines Ruskin’s later writings, the writings and architectural works of William Morris and the writings of other early members of SPAB including Thomas Hardy, to examine to what extent the “do-not-touch” model of conservation can be interpreted as an early reaction of alarm about climate change.

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Lana, Luca. "Queer Terrain: Architecture of Queer Ecology." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4016p5dw3.

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This paper seeks to ally the interdisciplinary frameworks offered by ‘Queer Ecology’ with an architectural inquiry to expand both fields. Queer theory alone offers scant discussions of material and architectural practices, while environmental discourse in architecture fails to address its role in ecological and social-political violence. A clothing-optional / cruising beach in rural Victoria, Sandy Beach also known as Somers Beach, exemplifies how the queer body’s navigation of space responds to complex ecological, urban, and social conditions. A queering of architectural definitions allows this site to be researched as a historically significant urban/architectural site of social and environmental value. It is suggested that the subtle yet complex practices of site transformations enacted through occupation are an architecture of environmental connective possibility. ‘Queered’ corporeality orientates the body and material practices towards assemblages where boundaries between humans and nature are transgressed, ultimately constituting a ‘queer ecological architecture’

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Holleran, Samuel. "The Cemetery and the Golf Course: Mid-Century Planning and the Pastoral Imaginary." 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/a5025pavmv.

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The well-draining ‘sandbelt’ in the southeast of Melbourne boasts many world-famous links established during the ‘golf boom’ of the 1920s. The soil conditions that make for good golf – sandy, loamy dirt – are also optimal for cemeteries. Starting in the 1930s ‘memorial parks,’ built at the urban periphery, began to replace crowded churchyards and Victorian-era cemeteries in the urban core. Sometimes within a stone’s throw of putting grounds, these new sites for burial placed the dead below bronze markers set into undulating green surfaces – very much reminiscent of a golf course. This paper offers a history of the landscape architecture, planning, and cultural shifts that aided in the development of both the suburban ‘memorial park’ and the modern golf course, two typologies that place a huge importance on Sylvan water features and grassy dells. The space allocated to each in rapidly urbanising areas illuminates the tension between the infrastructure of death and memorialisation and the land reserved for the living, and their leisure activities. Taking the history of the cemetery and the golf course together, this paper examines the pastoral imaginary of mid-century spatial planners as both a cultural phenomenon and a technological feat, made possible by advances in irrigation and pest control. In the ensuing years the green imaginary of these heavily sprayed ‘lawnscapes’ has evolved with the emergence of various ‘green infrastructure’ framings, and a new scrutiny of land- and sod-intensive sites. Creating greenspaces for humans may not be enough, and both cemeteries and golf courses have struggled to justify their existence. Managers of these sites have started to channel a more-than-human constituency that includes plant and animal life who also ‘inhabit’ their spaces.

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Nielsen, D. "Victoria regia’s bequest to modern architecture." In DESIGN AND NATURE 2010. Southampton, UK: WIT Press, 2010. http://dx.doi.org/10.2495/dn100071.

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Raisbeck, Peter. "Reworlding the Archive: Robin Boyd, Gregory Burgess and Indigenous Knowledge in the Architectural Archive.” between Architecture and Engineering." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3985p56dc.

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In her book Decolonising Solidarity: Dilemmas and Directions for Supporters of Indigenous Struggles, Clare Land suggest how non-Indigenous people might develop new frameworks supporting Indigenous struggles. Land argues research is deeply implicated with processes of colonisation and the appropriation of indigenous knowledge. Given that architectural archives are central to the research of architectural history, how might these archives be decolonised? This paper employs two disparate archives to develop a framework of how architectural archivists might begin to decolonise these archives. Firstly, these archives are the Grounds Romberg and Boyd Archive (GRB) at the State Library of Victoria (SLV). Secondly, the Greg Burgess Archive is now located at Avington, Sidonia in Victoria. The materials from each of these archives will be discussed in relation to two frameworks. These are the Tandanya-Adelaide Declaration endorsed by The Australian Society of Archivists (ASA) and the Indigenous Cultural and Intellectual Property (ICIP) framework developed by Janke (2019). These archival frameworks suggest how interconnected architectural histories and historiographies might be read, reframed and restored. Decolonising architectural archives will require a continuous process of reflection and political engagement with collections and archives. In pursuing these actions, archivists and architectural historians can begin to participate in the indigenous Reworlding of the archive.

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Reports on the topic "Victorian architecture"

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Le Maux, Laurent. Bagehot for Central Bankers. Institute for New Economic Thinking Working Paper Series, February 2021. http://dx.doi.org/10.36687/inetwp147.

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Walter Bagehot (1873) published his famous book, Lombard Street, almost 150 years ago. The adage “lending freely against good collateral at a penalty rate” is associated with his name and his book has always been set on a pedestal and is still considered as the leading reference on the role of lender of last resort. Nonetheless, without a clear understanding of the theoretical grounds and the institutional features of the British banking system, any interpretation of Bagehot’s writings remains vague if not misleading—which is worrisome if they are supposed to provide a guideline for policy makers. The purpose of the present paper is to determine whether Bagehot’s recommendation remains relevant for modern central bankers or whether it was indigenous to the monetary and banking architecture of Victorian times.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.

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Duan, Jingming, and Darren Kyi. Australian Lithospheric Architecture Magnetotelluric Project (AusLAMP): Victoria data release report. Geoscience Australia, 2018. http://dx.doi.org/10.11636/record.2018.021.

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Mathieu, J., E. C. Turner, and R. H. Rainbird. Sedimentary architecture of a deeply karsted Precambrian - Cambrian unconformity, Victoria Island, Northwest Territories. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2013. http://dx.doi.org/10.4095/292099.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.

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