guttae

Lisbon Eclectic

2012-01-27T11:58:00.000-08:00

Elevador de Santa Justa, Lisbon

2012-01-24T07:36:00.000-08:00

São Domingos, Lisbon

2012-01-21T04:53:00.000-08:00

The Architectural Consequences of Granite

2012-01-18T11:59:00.000-08:00

It is an especial pleasure to announce the publication of the most recent volume in the Ashgate Studies in Architecture series edited by Eamonn Canniffe

William Alvis Brogden's A CITY'S ARCHITECTURE: ABERDEEN AS 'DESIGNED CITY'

When considering the successful design of cities, the focus tends to be on famous examples such as Paris or Rome, with equally successful but smaller and more remote examples being ignored. In addition, the more diffuse patterns of settlement of the north and western parts of Europe are hardly considered at all in comparison to the tightly formed urban centres of the Mediterranean. However, the diffuse town/region is typical of our time, whatever the location. By analysing the development of a successful small city of ancient foundation which grew from a diffuse long settled and dense landscape, then demonstrated a slow growth as a tight urban form before an early adoption of the designed landscape as "town" lessons can be learned. These lessons may be useful in addressing the nature and growth of any city or city/region. The story of Aberdeen is just such as example. Not only are the materials for its long history present, its relations and concerns with the wider world are also well attested, and many of the ideas which directed or significantly impinged on the design of cities were tested there, or had their origin there. As its form accumulated and developed over such a long time Aberdeen also suggests the idea of an architecture of the city. This book examines the development and design of a city from three inescapable aspects: its location and character of the landscape; its own particular history of development; and its cultural responses to various waves of thought.

Three Aedicules

2012-01-15T11:36:00.000-08:00

Largo do Carmo, Lisbon

THE REPUGNANT STAGE: A TRAGI-COMEDY OF BRITISH URBAN SPACE

2012-01-12T13:17:00.000-08:00

A paper prepared for the PUBLIC SPACE: THE SQUARE IN THE CONTEMPORARY CITY symposium at Universidade Autonoma de Lisboa 13-14 January 2012

THE REPUGNANT STAGE: A TRAGI-COMEDY OF BRITISH URBAN SPACE
Eamonn Canniffe Manchester School of Architecture

The subject of this symposium is timely. The periods when the piazza as a type has undergone sustained study as an urban phenomenon, in the latter half of the nineteenth century as exemplified by Sitte, and in the post Second World War period with the development of townscape were both times of immense transformation in cities, when traditional forms of urbanism and society were under severe pressure. In contrast the period of reassessment which took place from the mid 1960s to the mid 1990s under the leadership of figures such as Aldo Rossi and the Krier brothers was one of relative stagnation. In the present time, the urban situation has experienced a dramatic transformation over the last two decades as new development encroached on urban centres, but once again the piazza features as an identifying characteristic of urban quality, a word which might be applied to the most unlikely open areas of hard landscape and ‘space left over after planning’, as if the name itself was a guarantee of sophistication and pleasure.

The morphological character of public space in the contemporary city is one where the individual identity of buildings dominates. The relationship between these buildings is often so attenuated as to make the space between them redundant, either as a functional entity or as a form of intangible matter binding urban forms together. It can therefore be initially observed that quantity of space is not an issue for concern, rather the quality of public space available. In contrast to the present situation, the ambiguities of space in traditional cities represented a positive civic value that was implicitly eclectic, because, however the spaces were developed or designed, they paid some deference to the rich tradition of the European public square. Their equivocal nature as realizations of the individual and the collective, and their appropriation by citizens for shared activities reinforced the structure of a society. Space in the contemporary city struggles to fulfill those roles leading to the question of whether the collective experience of the existing public realm, or indeed the quasi-urban spaces of new commercial developments, have a significant role to play in the future of public space? Are they the appropriate locations for continued political discourse or is the future of the phenomenon of the public square inevitably tied to, and limited by, the rich legacy of its past? (Figure 1).

Figure 1 Liverpool One

The erosion of any overt political aspect to these public spaces is itself a political symptom of the passivity of populations in established democratic societies. In the contemporary British context this is a result both of the abandonment of political expression to the communications media, but also to the typically undemonstrative character of urban form. If, until quite recently, overt political representation was largely absent, it is in the changing life of urban spaces that the metaphor of the city as theatre has its most profound expression. This phenomenon has deep roots but not always positive effects. (Figure 2).

Figure 2 Occupy London

For example, Aldo Rossi recognized the split between intentions and experiences in his discussion of locus and context in relation to the Roman Forum. In The Architecture of the City he wrote

Locus … is not unrelated to context; but context seems strangely bound up with illusion, with illusionism. As such it has nothing to do with the architecture of the city, but rather with the making of a scene, … saddening us like would-be tourists of a vanished world.

It is hardly surprising that this concept of context is espoused and applied by those who pretend to preserve the historical cities by retaining their ancient facades or reconstructing them in such a way as to maintain their silhouettes and colours and other such things; but what do we find after these operations when they are actually realised? An empty, often repugnant stage.

In this paper I wish to explore two implicitly theatrical contemporary spaces, Spinningfields in Manchester and MediaCity:UK in Salford which attempt to create variety of urban form as a means of replicating the historic development of an urban environment. The commodification of culture tends towards the devaluing of space in favour of the self-evident attractions of the architectural object, as the skyline of any developing city attests. In parallel with this tendency at the macro scale, in the life of individuals in the developed world the functional necessity of the public forum has been superseded by the availability of virtual communication and information through electronic media, perhaps liberating traditional public spaces to be more overtly rhetorical in the expression of the ethics of a community.

It is however important to acknowledge that the worth and appreciation of the historic phenomenon of the public space, and at the same time the treatment of the defined urban space as a mundane form has two possible interpretations. Firstly, there is the widely held suspicion that the type of enclosed public space that the piazza represents has become an outmoded form. Secondly, and directly opposed to the former, there is the position that the lessons such places contain present an exemplary type of public space. They demonstrate that variety, flexibility, historical memory and contemporary aspiration, the most everyday events and the most sacred spaces might be layered into each other and create richly inspirational spaces which continue to demonstrate the importance of the physical experience, in terms of the authenticity of the familiar and the directness of sensation. Curiously, these two positions seem equally valid. One can, of course, enjoy the facilites of an existing space without regarding that experience to be replicable in new situations. It is perfectly possible to hold both views simultaneously, a phenomenon I would ascribe to the strangely fascinating power of the public space, its ability to subsume all types of phenomena into a sense of a shared experience. (Figure 3).

Figure 3 Piazza Constantini, Concordia Sagittaria

In Europe historic urban environments have been protected and continue to serve their original social functions, but the influence of commercial urbanism of the United States makes itself felt in the development of business districts and peripheral areas of the major cities. In this context the elements of public space are often appropriated as a theatrical component of the developer’s armoury in creating a successful segment of the city, yet they are exclusive environments without the diversity which authentic urban situations contain as a matter of course. They repeat the impermeable design solutions which characterised the megastructures of previous decades, while the deliberate creation of a lack of integration between parts of the city through its public spaces is unlikely to be ameliorated substantially by the introduction of exclusive shops as a screen to the parking decks.

In the spectacular but more ephemeral presence of advertising the global dominance of fashion and technology brands present an ideology that mitigates against the inclusive nature of traditional urban space. Occasionally such elements become permanent features of the urban space, as in the case of the Armani Wall on Via dell’ Orso in Milan, or Diesel Wall adjacent to San Lorenzo, but the two examples provide different lessons in the direction of urban space. While the Armani Wall concerns itself directly with advertising and is transparent about its relationship to consumer products, its relationship to urban space is studiously neutral and undemonstrative. The Diesel Wall’s relationship to marketing is more obscure, the material displayed on the wall, supplied from an open invitation to artists, having an association with the company through the sponsoring of public space. While the artwork’s presence and message is direct, that of the ‘subversive’ fashion brand is open to more speculation and interpretation.

One noticeable aspect of this presence of such billboards in public places is the collapse of conventional issues of scale. Distinctions between media are seen as irrelevant as the city’s contemporary appearance is increasingly determined by the brand and what it promises. In contrast to such ephemerality it is the quality of endurance that gives traditional public space its ultimate character. It is risky to make generalisations, but the discreet integration of a piazza with its containing city, the length of time spent in the design and construction of the place and the ambiguity with which it accommodates different functions are what differentiate such spaces from the functionally specific, provisionally constructed and attention seeking urbanism of the present day.

While that phenomenon has many possible causes, its relationship to the formerly communicative nature of public space is worth emphasising. The qualities of traditional space, in the allowance for spontaneity within the public sphere, represent the most direct means of balancing the negative effects of the mediated world, through personal encounters with all the agreements and disagreements, pleasures and conflicts they bring. In the current confused state of architectural and civic debate, accusations of discontinuity between intentions and results are commonplace. This situation is most evident in the Spinningfields development in central Manchester, sited around the former Crown Square, a civic area of court and municipal buildings which has been rebranded as a financial and retail centre by the developer Allied London. The new buildings of the area are without any sense of place, and are glumly staid, a small scale vision of the technocratic urban centre fundamentally delineated by Le Corbusier eighty years ago. They stand around the area awkwardly misaligned with each other and unconvincingly heterogenous in their exterior forms, different wrappings around the same sort of functional space. But at least they have a genuine function, unlike the public space of the area, where the same futile decorative mentality attempts to modify the obvious meaninglessness of the ensemble.

Utilitarian messages are commonplace in Manchester architecture, so the lack of coherence could be thought of as a demonstration of the genius loci of the city. The attempt to produce a ‘community’ out of office workers that is offered by Spinningfields represents an especiallyly impoverished form of generic urbanism. Attention lights on the palette of accumulated brands precisely because the physical environment (buildings and spaces) in which they are contained is so banal and devoid of consolation.

The public spaces are particularly redundant, because the spaces have no real use, not the sort of the fluid changes of occupation one would witness in an authentic place. The spaces created as part of the development are so stupendously formless they can only indicate their eventual occupation by yet more office building. Large patches of lawn suggest future development plots which might give more definition to these late manifestations of s.l.o.a.p. (space left over after planning). Lines of skater-proof benches provide a rhythm of potential occupation, although hard up against the glass elevation of the Civil Justice Centre, they offer little prospect of comfort let alone a view. In Hardman Square the enigmatic forms of polished black stone attempt to provide interest to the yawning space which opens out.

The inevitable arrival of economic stagnation brought some sense of closure to recent developments. They have introduced often dramatic change into the Mancunian cityscape, in the wake of the 1996 I.R.A. bomb, but the incompleteness of their resolution and the fragmentary discontinuity their thwarted plans produce is firmly rooted in a local urban tradition. The commercial failure the Spinningfelds development is experiencing has induced one extraordinary theatrical reaction. The façade of the Crown Court now has a companion in the construction of a new pub, The Oast House, a work of 'imagineering' which scenographically contrasts with its modern surroundings. Apparently aged brick and dry-stone walling, a rusting corrugated metal roof and a wooden shingle clad tower attempt to evoke an authentic sense of place, but only since October 2011. This, however, is not the type of seasonal and ephemeral structure which the commercial churn requires. Rather it is a semi-permanent solution to overcome the problem of empty, very expensive shops which have failed to provide the promised sense of community in the public space. The level of scenographic skill is quite remarkable and the pub itself, at least, is very busy, but its position in a square originally created as a civic setting for the dignity of the law raises the question of the values public space is now assumed to represent. (Figure 4).

Figure 4 The Oast House, Spinningfields, Manchester

There is a related but slightly different form of expression of public space at another recent development in the neighbouring city of Salford. MediaCity:UK is a brownfield development by Peel Holdings of derelict land adjacent to the Manchester Ship Canal, designed as the new northern headquarters of the BBC and other prominent media companies. The University of Salford also houses its expanding media department there and the metrolink tram system had a special branch line created to connect this business outpost to central Manchester and onward train connections to London.

The masterplan used the existing successful cultural landmarks of The Lowry (Michael Wilford 2000) and the Imperial War Museum – North (Daniel Libeskind 2002) as foci for the public spaces of the new development. A large paved plaza, called The Stage exploits The Lowry as a piece of urban scenography across the water of the dock. From this space a curving street leads round to a new footbridge which connects to the Imperial War Museum. The large public space is relatively uncluttered, and is bounded on its open eastern edge by a stoa-like structure between it and an area of soft landscape and planting. (Figure 5).

Figure 5 MediaCity:UK, Salford

If these strategic moves are sensible the same could not be said of the architecture which forms the backdrop to the public space. A series of slabs, clearly intended to appear as distinct from one another rise up from the lower buildings and demonstrate various levels of ingenuity in their cantilevering forms. There is also a small forest of towers, from the banal blocks of a generic hotel to more individually expressed blocks of apartments, offering views over water but often by convoluted means. Office accommodation is more assertively appointed, especially the diagonally patterned ‘Orange’ block which loudly announces the availability of speculative office space with its visual disturbance. Less dramatically the street edge is formed by the usual ubiquitous branded outlets.

Now it would be facile to expect a development which began from a tabula rasa to foster any spontaneous character but no provision has been made for such an occurrence. The planning betrays all the efficiency of a popular television format, a high degree of artificiality requiring a complete suspension of disbelief. The public space presents too exposed an arena in the jolt between open and enclosed, the glass skin proving a very effective barrier between the controlled world of the office space and the only marginally less controlled world outside for those without a security pass.

Each of these developments has a distinct strategic intention for their theatrical function. The events in the public space in Salford will be designed to integrate with the television schedules, providing a virtual audience for this still rather isolated location. At MediaCity:UK the events are part of the mission of the place. In contrast, the event calendar of Spinningfields is designed to induce further commercial development and provide customers for the shops and restaurants. But whereas in central Manchester such a strategy of spectacle for the public realm could gain some value from the changeful ephemerality of the events, at Salford Quays it promises all the deadening jollity of highly planned enforced entertainment.

Yet despite the patently disappointing qualities of these spaces, one searches for a method to draw them back into some meaningful urban narrative. With their diversely appointed languages, their confusions of scale and compressions in space their scenographic qualities are to the fore. Perhaps, therefore they could be compared to two of the most significant images of urban theatricality in the Western canon, Serlio’s tragic and comic scenes. The tragic scene shows palaces and temples with the distant view to funereal obelisks and pyramids marking the dignity of the action to be staged. In contrast the comic scene presents a jostle of disparate buildings, some hinting at lack of occupation and appearing over the roof of a lower bawdy house in the middle ground. In this comparison the tragic scene might be paired with the rigid formality of MediaCity:UK and therefore the insertion of The Oast House in the partially vacant Spinningfields fulfils the parallel with the comic scene.

This interpretation perhaps stretches credibility. But it stands for the creative idea that no matter how distasteful the context within which the urbanist or architect has to work the route out of poor urban spaces, whether they are accidentally achieved or simply the result of poor design, the reading of that context in a positive way is imperative if the situation is to be improved. The complexity of that reworking might even add to the qualities of resulting public space.

In summary it is possible to assert that the most successful of urban spaces show the same three characteristics, that they are genuinely open and permeable, that they are relatively unadorned, and that they are clearly defined. To consider the first of these aspects, openness is significant as a guarantor of the public nature of such spaces. This sounds banal, but it has to be contrasted to the twin contemporary phenomena, the privatisation of public space and the simulation of public space in the private sphere, particularly for commercial purposes, which my two examples demonstrate. Although public spaces have traditionally been sites of liberty, an important safety valve in any open society, they also help form conventions which hold the collective and the individual in equilibrium. Such permeability leads to social benefits in the ownership of spaces being assumed by a diverse local population.

The second aspect is their liberality of space. A certain severity and robustness of materials far from deterring activity, ensures that a multiplicity of uses are possible within such a space and that variety encourages a vibrant social occupation which an over prescriptive arrangement might prevent. In a paradoxical way, the aspects of use and of the representation of use are often confused and a tranquil treatment of a space allows its qualities to be explored in an ambient way, the extent of which few designers could fathom, the spontaneous and unintentional always having a high degree of significance.

Lastly the clarity of definition reinforces the specificities of place and identity by distinguishing itself from other parts of the city. This aspect of form contrasts with the social manner of openness to create spaces that engage the visitor with the phenomenological experience of the place itself. This haptic appropriation of space precedes any intellectual comprehension.

The visual sense has to be understood as primary. In this regard commercial display has an important function in the configuration of urban spaces, both as a magnet which attracts people and, in our contemporary environment of branding, market share and built-in obsolescence, it provides that changeful aspect over time. The ambient show this provides to the city underscores the latent theatricality of public space against which the activities of shopping, relaxation and people-watching can be read as the admittedly humdrum contemporary expression of the urban drama. That only a simulation of this phenomenon is provided by privatized public space should not need stressing. The life of public spaces grew up organically with the juxtaposition of commercial and civic activities rather than being solely the product of commercial ambition. The mistake many contemporary spaces make is in trying to produce that history immediately, leading to inevitable disappointment in the results.

Any integral model of public space should stand opposed both to the vacuum within which the monofunctional objects of modernity withdraw from mutual contact into uncomfortable rivalry, and the over-stimulated environments of contemporary commercial space. To fulfill any ethical potential in urban design the hierarchy should be reestablished which sees the public realm as having more value than the individual buildings which define it, and therefore deserving of more respect and decorum in its treatment.

The suburban models that dominate the developed world place a value on unoccupied space which is determined solely by the distance which can be preserved between one citizen and another. Conversely any public spaces worthy of the name functions by encouraging proximity, the contamination of one purpose by another, the variable flow of activities during a day. The possibilities that occur from these planned and fortuitous contacts then fertilize these small patches of urban space so that they assume the specific and sophisticated characteristics of place.

Even a site such as Spinningfields is capable of a form of ephemeral redemption. On July 5 2009 central Manchester was the site of a performance piece Procession by the artist Jeremy Deller that featured a series of surprising tableaux. In particular it had a series of familiar and unfamiliar sections evoking some populist mythic scenarios. The Rose Queens of Manchester’s largely defunct Whit Walks traditions were joined by a robust outing from The Ramblers. The all-singing, all-dancing, mock-baroque of ‘The Adoration of the Chip’ contrasted with a fleet of hearses commemorating closed but legendary nightclubs, from The Hacienda to Rotters. The Big Issue Sellers and Unrepentant Smokers provided the smudge of ‘gritty northern realism’ but the procession concluded with the crowd gleefully following along Deansgate to the sweetly syncopated works of The Buzzcocks and Joy Division. (Figure 6).

Figure 6 Jeremy Deller: Procession

Perhaps the performance of Procession did not have the transcendent qualities of a great urban narrative reenactment, but it said more about the notions of civic pride and place than the banal receptacles of spectacular consumption which form Manchester and Salford’s recent cosmetically enhanced cityscape. Early in the sequence a truck mocked up as a textile mill complete with a smoking chimney brought the fundamental built environment of the city into the spectators’ consciousness, the ur-form of industrial space drawn as a memorial icon through the placelessness of Spinningfields. The root from which urban theatricality springs is representation, and combined with its political dimension such potent performances reinforce the importance of public spaces as an urban phenomenon, uniting the present day to the origins of the place. In this respect the true value of historic examples perhaps lie in their transformation over time rather than the notion of enduring and fixed form. During the present economic difficulties contemporary public space is of enhanced importance in democratic societies, and the values it represents, rather than necessarily the forms with which it is expressed, require protection and reaffirmation.

Bibliography

ROSSI, Aldo - The Architecture of the City M.I.T. Press 1982

ISBN 10: 0262680432

YOUNG, Lesley – Procession: Jeremy Deller Cornerhouse Publications

ISBN-10: 0955047846

Santa Maria Assunta, Torcello

2012-01-09T02:47:00.000-08:00

Epiphany

2012-01-06T00:12:00.000-08:00

Sir William Reid Dick (1878-1961): Sir John Soane (1937)

2012-01-03T07:46:00.000-08:00

A statue erected to commemorate the centenary of Soane's death and set into the wall of the redeveloped Bank of England

Santa Fosca, Torcello

2011-12-31T09:22:00.000-08:00

The Domestic Architectural Consequences of the Raj

2011-12-28T11:25:00.000-08:00

The New Year sees the publication of the latest volume in the Ashgate Studies in Architecture series edited by Eamonn Canniffe

The Bungalow in Twentieth - Century India
by Madhavi Desai, Miki Desai and Jon Lang

The primary era of this study - the twentieth century - symbolizes the peak of the colonial rule and its total decline, as well as the rise of the new nation state of India. The processes that have been labeled 'westernization' and 'modernization' radically changed middle-class Indian life during the century. This book describes and explains the various technological, political and social developments that shaped one building type - the bungalow - contemporaneous to the development of modern Indian history during the period of British rule and its subsequent aftermath. Drawing on their own physical and photographic documentation, and building on previous work by Anthony King and the Desais, the authors show the evolution of the bungalow's architecture from a one storey building with a verandah to the assortment of house-forms and their regional variants that are derived from the bungalow. Moreover, the study correlates changes in society with architectural consequences in the plans and aesthetics of the bungalow. It also examines more generally what it meant to be modern in Indian society as the twentieth century evolved.

Crib

2011-12-25T01:53:00.000-08:00

Merry Christmas

Public Space: The square in the contemporary city

2011-12-22T04:01:00.000-08:00

International Symposium, 13 and 14 January 2012 UAL Lisbon
Public Space:
The square in the contemporary city

From its origins to the present time, the square has maintained its role as a public space of excellence in citizens' lives, a place where the streams intersect, influencing the more relevant social transformations. Given the awareness that the square is now consolidated as a city's heritage, what are the current trends and the different approaches for the redesign of squares? How do architects and designers respond to this challenge?

The symposium, consisting of one and a half days (Friday and Saturday morning), intends to open a debate on the role of the square in the contemporary city, taking case studies in Portugal, Spain and Italy. We will explore other areas of thought and research, such as history and philosophy.

The conversation model focuses on the exposure of several speakers per panel, followed by debate.

January 13, Friday
Opening of the Symposium
Flavio Barbini (UAL)
Filipa Ramalhete (CEACT UAL)
Paulo Tormenta Pinto (ISCTE IUL)

Panel 1
09h00 to 13h30

The Agora and the Roman Forum
Flavio Barbini (UAL, PT)
-
Middle Ages and Renaissance, the place of the square
Rogério Vieira de Almeida (ISCTE IUL, PT)

Coffee Break
-
The Enlightenment square
Miguel Faria (UAL PT)
-
Squares of the Empire during the Estado Novo
Ana Vaz Milheiro (ISCTE IUL, UAL, U.S.)

Panel 2
15:00 to 18:00

The "anti square"
José Manuel Fernandes (FAUTL, PT)

Public space, Banyoles, Girona
Silvia Brandi (MIAS Josep Mias Architects, Barcelona, ES)

-

The Repugnant Stage
Eamonn Canniffe (Manchester School of Architecture, UK)

Piazza Ugo Dalló and S. Luigi Casiglione delle Stiviere, Mantova
Alberto Ferlenga (Naomi Architetti, IUAV, IT)

Debate moderated by Paulo Tormenta Pinto (ISCTE IUL, PT)

January 14, Saturday

Panel 3
10h00 to 13h00

Public Space
Nuno Crespo (UAL, PT)

The square of the Abbey of Santa Maria de Alcobaça Alcobaça
Gonçalo Sousa Byrne (FCTUC, PT)

-

The Ambivalence of the Public Square
Malcolm Miles (School of Architecture, Design & Environment)
University of Plymouth, UK)

Intervention in the neighborhood and Contumil Pius XII, Porto
Cristina Guedes (FAULP, PT) and Francisco Vieira de Campos (FAUP, PT)

Debate moderated by Ricardo Carvalho (Department of Architecture UAL PT)

Organised DA-UAL - CEACT ISCTE-IUL - CIAAM and dynamic CET

Peterborough Cathedral: Monuments

2011-12-19T06:57:00.000-08:00

Palazzo Contarini dal Zaffo Polignac, Venice

2011-12-16T07:34:00.000-08:00

ascribed variously to Pietro Lombardo, Mauro Codussi or Giovanni Buora

Sacred Trinity Church, Salford (1635, 1752, 1871-74)

2011-12-13T12:31:00.000-08:00

PUBLIC SPACE - the square in the contemporary city - Lisbon 13-14 January 2012

2011-12-10T04:33:00.000-08:00

The Department of Architecture of Universidade Autónoma de Lisboa will be hosting an International Symposium on the theme PUBLIC SPACE: THE SQUARE IN CONTEMPORARY CITY on 13-14 January 2012.
The aims are to celebrate the square as a public space of excellence and understand its value in the contemporary city.

The organisers, who include Dean Flavio Barbini can be contacted at dp.arq@universade-autonoma.pt

Eamonn Canniffe has been invited to deliver a keynote paper at this symposium. The paper will be entitled THE REPUGNANT STAGE.

Other speakers include Alberto Ferlenga and Gonçalo Sousa Byrne.

Peterborough Cathedral: Interior

2011-12-07T09:54:00.000-08:00

James Stirling and Michael Wilford: No. 1 Poultry, London

2011-12-04T05:24:00.000-08:00

Best Blog!

2011-12-01T05:47:00.000-08:00

I am very pleased that guttae has been selected as Best Blog - 29/11/2011 by the Italian website ARCHITETTO.INFO

Here is what they said

Un blog che fotografa l’architettura, nel complesso dei suoi manufatti storici e nei dettagli che non bisogna mai perdere. E se si approfondiscono i link sulla destra della home page, si scopre un approfondito e interessante regesto fotografico delle più e meno note architetture storiche che l’epoca classica e moderna hanno prodotto.

The rest has an enjoyable ring to it as well

Eamonn Canniffe, autore del blog, è a capo del Architecture Research Centre e del Master in Architettura + Urbanistica presso la Facoltà di Architettura di Manchester. Ha studiato Architettura a Cambridge e ad Harvard. Nel 1996 ha ottenuto una borsa di studio presso l’Accademia di Belle Arti alla British School di Rome. Tra il 1986 e il 1998 ha insegnato presso l'Università di Manchester, e tra il 1998 e il 2006 presso l'Università di Sheffield.

Egli è l'autore di Urban Ethic: Design in the Contemporary City (Routledge 2006) e The Politics of the Piazza: the history and meaning of the Italian square (Ashgate 2008). È co-autore (con Tom Jefferies) di Manchester Architecture Guide (1999) e (con Peter Blundell Jones) di Modern Architecture through Case Studies 1945-1990 (Architectural Press 2007).

Palazzo Barbaro Curtis, Venice

2011-11-28T07:06:00.000-08:00

Forthcoming Publication

2011-11-25T03:14:00.000-08:00

Rome, Postmodern Narratives of a Cityscape
Editors: Dom Holdaway and Filippo Trentin

Warwick Series in the Humanities
Hb: c.256pp: 2013
978 1 84893 349 1: 234x156mm: £60.00/$99.00
978 1 78144 000 1

Until the mid-twentieth century the Western imagination seemed intent on viewing Rome purely in terms of its Classical past or as a stop on the Grand Tour. This collection of essays looks at Rome from a postmodern perspective, including analysis of the city's 'unmappability', its unity, and its iconic status in literature and film.

Contents
Introduction – Dom Holdaway and Filippo Trentin
Part I: Knowing Rome
1 Roma intra muros, Roma extra muros – Marco Cavietti
2 'The Paradise, The Grave, The City, and The Wilderness': A Travelogue of Imagined Rome – Eamonn Canniffe
3 The Explosion of Rome in the Fragments of a Postmodern Iconography – Fabio Benincasa
Part II: Fragmented Topography
4 Topophilia and Other Roman Perversions – John David Rhodes
5 Filming on the Campidoglio – Lesley Caldwell
6 Simulacra and Deconstruction: Anachronistic Clashes Between the Classical and the Postmodern – Filippo Trentin
7 A Postmodern Gaze on the Gazometro – Keala Jewell
Part III: Situating Rome
8 Ecclesiastical Icons: Defining Rome through Architectural Exchange – James Robertson
9 Roma Interrotta, 1978–2010: A Retrospective Historical Analysis – Léa-Catherine Szacka
10 Las Vegas, by Way of Rome: The Eternal City and American Postmodernism – Richard W Hayes

This volume will gather together the presentations from the University of Warwick conference The Postmodern Palimpsest: Narrating Contemporary Rome held earlier this year. The images from my keynote paper are below.

The book may be ordered here

Nicholas Hawksmoor: St. Mary Woolnoth, London (1716-23)

2011-11-22T13:03:00.000-08:00

Peterborough Cathedral: Exterior

2011-11-19T08:24:00.000-08:00

The Architectural Consequences of Preservation

2011-11-16T12:35:00.000-08:00

The eighth volume in the Ashgate Studies in Architecture, a series edied by Eamonn Canniffe, will be published shortly.

Materan Contradictions: Architecture, Preservation and Politics by Anne Parmly Toxey

Shaped by encrusted layers of development spanning millennia, the southern Italian city of Matera is the ultimate palimpsest. Known as the Sassi, the majority of the ancient city is composed of thousands of structures carved into a limestone cliff and clinging to its walls. The resultant menagerie of forms possesses a surprising visual uniformity and an ineffable allure. Conversely, in the 1950s Matera also served as a crucible for Italian postwar urban and architectural theory, witnessed by the Neorealist, modernist expansion of the city that developed in aversion to the Sassi. In another about-face, the previously disparaged cave city has now been recast as a major tourist destination, UNESCO World Heritage Monument, and test subject for ideas and methods of preservation.

Set within a sociopolitical and architectural history of Matera from 1950 to the present, this book analyses the contemporary effects of preservation on the city and surrounding province. More broadly, it examines the relationship between and interdependence of preservation and modernism within architectural thought. To understand inconsistencies inherent to preservation, in particular its effect of catalyzing change, the study lays bare planners' and developers' use of preservation, especially for economic goals and political will. The work asserts that preservation is not a passive, curatorial pursuit: it is a cloaked manifestation of modernism and a powerful tool often used to control economies. This study demonsrates that preservation also serves to influence societies through the shaping of memory and circulation of narratives.

Michele Sanmicheli: Palazzo Grimani, Venice

2011-11-13T10:44:00.000-08:00

Sheffield Botanical Gardens

2011-11-10T09:01:00.000-08:00

Palazzo Corner Loredan Piscopia, Venice

2011-11-07T08:28:00.000-08:00

Tatton Tuscan

2011-11-04T14:19:00.000-07:00

Mauro Codussi: Torre del Orologio, Venice

2011-11-01T06:54:00.000-07:00

Always read the small print

2011-10-29T02:00:00.000-07:00

Visitors to the James Stirling exhibition at the Staatsgalerie in Stuttgart will find my name in the timeline by the photograph of the Venice Biennale Bookshop.

Baldassare Longhena and Giorgio Massari: Ca Rezzonico, Venice

2011-10-26T11:32:00.000-07:00

Topiary - Rufford Old Hall

2011-10-23T11:18:00.000-07:00

Icarus's Revenge

2011-10-20T11:12:00.000-07:00

Hotel San Fantin, Venice 1869

2011-10-17T10:44:00.000-07:00

Ricordi della Eroica Resisenza di Venezia 1849

Daedalus's Lament

2011-10-14T06:04:00.000-07:00

Ca d' Oro, Venice

2011-10-11T03:36:00.000-07:00

Giacomo Leoni (et al.): Lyme Hall, Cheshire

2011-10-08T05:29:00.000-07:00

Carlo Scarpa: Facolta di Lettere e Filosofia, Venice (1976-78)

2011-10-05T13:47:00.000-07:00

The Architectural Consequences of Lafayette and de Tocqueville

2011-10-02T09:24:00.000-07:00

Caroline Maniaque - Benton's French Encounters with the American Counterculture 1960-1980 is the latest book to be published in the Ashgate Studies in Architecture series edited by Eamonn Canniffe

French-American interrelationships in the areas of design and creative thinking have been under acknowledged. It is normally asserted that French architects looked to North America for technical lessons in the development of modern architecture in the 1960s but that the French cultural environment was generally hostile to American ideas. Including interviews with French architects who visited the States in the 1960s and then assumed influential positions in the press and education in France, this book shows how they actually found in the American counterculture and its radical groups of architectural dropouts a liberating force, free both of the taint of American capitalism and of high investment technology. Often living in alternative student communities, they saw highly innovative low cost technical and structural systems placed in the service of collective forms of living which represented a critique not only of professional architectural practice but also of bourgeois forms of living. Many of them also studied in American schools of architecture and came in contact with an intellectual and interdisciplinary style of architectural education unavailable in France at that time.

Mauro Codussi: San Zaccaria, Venice

2011-09-29T11:36:00.001-07:00

Highly Commended

2011-09-26T16:11:00.000-07:00

In a ceremony at The Crucible in Sheffield on Monday night David Britch, Eamonn Canniffe and Stephen Martlew were awarded an 'Highly Commended' prize in the 'Forgotten Spaces Sheffield' competition for their entry 'Pigs, Bees and Bells'.

Giovanni Girolamo Grapiglia: Palazzo Loredan, Campo Santo Stefano, Venice

2011-09-26T11:00:00.000-07:00

Giancarlo de Carlo: Housing at Mazzorbo,Venice (1979)

2011-09-23T07:48:00.000-07:00

At the Bacino di San Marco

2011-09-19T05:46:00.000-07:00

From The Crucible Sheffield

2011-09-15T07:23:00.000-07:00

Between 15 September and 8 October David Britch, Eamonn Canniffe and Stephen Martlew's proposal Pigs, Bees and Bells for the Forgotten Spaces Sheffield competition is among the short-listed entries on display at The Crucible Theatre

Archaeology's Places and Contemporary Uses: A Second Publication

2011-09-13T06:35:00.000-07:00

The 2010 edition of the International Workshop ARCHAEOLOGY'S PLACES AND CONTEMPORARY USES hosted at IUAV in Venice is available here

John Gould Irwin & Francis Chester: Theatre Royal, Manchester (1845)

2011-09-04T04:41:00.000-07:00

Literature, Sculpture, Architecture, Painting

2011-09-01T04:29:00.000-07:00

at the Midland Hotel, Manchester

Market Halls

2011-08-29T07:42:00.000-07:00

Shrewsbury

Peterborough

Erddig: Garden

2011-08-26T02:48:00.000-07:00

Erddig: House

2011-08-23T04:04:00.000-07:00

E-book of the week!

2011-08-20T07:30:00.000-07:00

I was pleased to discover (rather belatedly) that the Loyola Notre Dame Library of Loyola University of Baltimore, Maryland had nominated The Politics of the Piazza as an e-book of the week in late March.

Here is the brief review by Joanne Helouvry, Head of Research and Instruction Services

Broken into four parts, this book discusses the relationship between political systems and their methods of representation in architecture. Illustrated with contemporary photographs, analytical drawings and historic images, it examines approximately 70 significant piazzas and situates these in their social and political contexts, highlighting shifts between autocratic and democratic forms of government from antiquity to the present day. Great for people planning on traveling to Italy or interested in Italian history.

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Betty Ratcliffe: Model of the Ruins of the Temple of the Sun, Palmyra, Erddig

2011-08-17T02:40:00.000-07:00

Francis Eginton (1737-1805): Faith, St. Alkmund's Church. Shrewsbury

2011-08-14T02:31:00.000-07:00

Peter Ellis (1808-1888): 16 Cook Street, Liverpool (1866)

2011-08-11T07:13:00.000-07:00

Jack Coia: St.Columba's Church, Maryhill, Glasgow (1937-41)

2011-08-08T07:11:00.000-07:00

Peter Ellis (1808-88): Oriel Chambers, Liverpool (1864)

2011-08-05T04:26:00.000-07:00

Jack Coia: St.Columbkille's Church, Rutherglen (1934-40)

2011-08-02T03:55:00.000-07:00

The Architectural Consequences of Memory

2011-07-30T08:03:00.000-07:00

The sixth volume in the Ashgate Studies in Architecture series edited by Eamonn Canniffe has just been published.

Losing Site: Architecture, Memory and Place

by Shelley Hornstein York University

As Ruskin suggests in his Seven Lamps of Architecture: "We may live without [architecture], and worship without her, but we cannot remember without her." We remember best when we experience an event in a place. But what happens when we leave that place, or that place no longer exists? This book addresses the relationship between memory and place and asks how architecture captures and triggers memory. It explores how architecture exists as a material object and how it registers as a place that we come to remember beyond the physical site itself.

It questions what architecture is in the broadest sense, assuming that it is not simply buildings. Rather, architecture is considered to be the mapping of physical, mental or emotional space. The idea that we are all architects in some measure - as we actively organize and select pathways and markers within space - is central to this book's premise. Each chapter provides a different example of the manifold ways in which the physical place of architecture is curated by the architecture in our "mental" space: our imaginary toolbox when we think of a place and look at a photograph, or visit a site and describe it later or send a postcard.

By connecting architecture with other disciplines such as geography, visual culture, sociology, and urban studies, as well as the fine and performing arts, this book puts forward the idea that a conversation about architecture is not exclusively about formal, isolated buildings, but instead must be deepened and broadened as spatialized visualizations and experiences of place.

Jack Coia: St.Anne's Church, Dennistoun, Glasgow (1933)

2011-07-27T07:32:00.000-07:00

The Architectural Consequences of Frederic Jameson

2011-07-18T04:04:00.000-07:00

The latest book to be published in the Ashgate Studies in Architecture series edited by Eamonn Canniffe is

The Political Unconscious of Architecture

Re-opening Jameson's Narrative

edited by Nadir Lahiji University of Pennsylvania

Thirty years have passed since eminent cultural and literary critic Fredric Jameson wrote his classic work, The Political Unconscious: Narrative as a Socially Symbolic Act, in which he insisted that 'there is nothing that is not social and historical – indeed, that everything is "in the last analysis" political'.

Bringing together a team of leading scholars including Slavoj Žižek, Joan Ockman, Jane Rendell, and Kojin Karatani, this book critically examines the important contribution made by Jameson to the radical critique of architecture over this period, highlighting its continued importance to contemporary architecture discourse.

Jameson's notion of the 'political unconscious' represents one of the most powerful notions in the link between aesthetics and politics in contemporary discourse. Taking this, along with other key concepts from Jameson, as the basis for its chapters, this anthology asks questions such as: Is architecture a place to stage 'class struggle'?, How can architecture act against the conditions that 'affirmatively' produce it? What does 'the critical', and 'the negative', mean in the discourse of architecture? and, How do we prevent architecture from participating in the reproduction of the cultural logic of late capitalism?

This book breaks new ground in architectural criticism and offers insights into the interrelationships between politics, culture, space, and architecture and, in doing so, it acts as a counter-balast to the current trend in architectural research where a general aestheticization dominates the discourse.

Charles Rennie Mackintosh: Glasgow School of Art

2011-07-15T04:12:00.000-07:00

Alexander "Greek" Thomson: St. Vincent Street Church, Glasgow (1859)

2011-07-12T03:49:00.000-07:00

Charles Rennie Mackintosh: Daily Record Building, Glasgow (1901)

2011-07-09T06:51:00.000-07:00

David Hamilton: Hutchesons' Hall, Glasgow (1802-05)

2011-07-06T06:46:00.000-07:00

Alexander Stoddart: Italia

2011-07-03T07:59:00.000-07:00

Alexander "Greek" Thomson: Grecian Chambers, Glasgow (1865)

2011-06-30T07:46:00.000-07:00

Monuments to Sir John Crewe, Jane Done and Mary Crewe

2011-06-27T03:56:00.000-07:00

In the Parish Church of Saint Helen, Tarporley

Tiber Island

2011-06-24T09:27:00.000-07:00

Review: Nicholas Temple - renovatio urbi: Architecture, Urbanism and Ceremony in the Rome of Julius II

2011-06-21T08:49:00.000-07:00

published by Routledge London and New York 2011

Nicholas Temple’s book renovatio urbis is a remarkable contribution to the literature on the urbanism of Rome. The author explores in considerable detail the series of projects (urban, architectural and painterly) which were initiated in the city by Pope Julius II during the decade of his papacy from 1503 to 1513. The warrior pope’s purpose was to recast the image of the city as the centre of Christendom and thereby reinforce the status of his office. The method used by Professor Temple in his analysis of this body of work is to synthesise the archival and literary sources with the visual tools of the architect to present a convincing set of interlinked analyses of the city’s topography, its representations and the relationships between major urban monuments both ancient and contemporary.
The work is structured, following the introduction, to deal successively with the Via Giulia, the Palazzo dei Tribunali, the Cortile del Belvedere, St. Peter’s Basilica and the Raphael frescoes of the Stanza della Segnatura. The figure of Bramante features in many of these projects, with Michelangelo considered in relation to his project for Julius’s tomb. The dynastic and nepotistic nature of the papal court figures in the influence of Julius’s uncle Sixtus IV and Julius’s adopted heirs in the Chigi family, who financed his grand projects. The general tone of the work is to read these highly significant individual works as fragments of a greater project to transform the city as an icon of papal authority.
An especially successful element of the book is the invoking of lost or minor ancient monuments as the possible sources of new renaissance urban elements. In this regard the recurring use of the Arch of Janus Quadrifrons as a surviving symbol of mythical Etruscan origins is particularly interesting to contrast with the more familiar narrative of the spatial idealism associated with the Greek cross plan. The diagrams, many of them drawn by Peter Baldwin, are particularly helpful in testing some of these hypotheses either across the city’s topography or in the fictional space of perspective construction in a fresco. This visual analysis, however, is always supported by literary, epigraphic or numismatic evidence, indicative of scholarship of the highest level.
The book stands as the equal of other significant studies of papal urbanists such as Carroll William Westfall’s work on Nicholas V In this most perfect paradise (1975) and Richard Krautheimer’s The Rome of Alexander VII (1985). However, the innovative nature of Temple’s analysis is probably best compared to Diane Favro’s The Urban Image of Augustan Rome (1998). Here too Temple takes care to demonstrate with plans and diagrams how the city was composed as a theological manifesto of the historic claims of the church as the successor of imperial Rome. The enduring continuity of the city, though, is evidence of the remarkable fact that nearly five hundred years after the death of the supreme patron of pre-Reformation Europe we still need to know more about his powerful commissions and creations, and this book provides some very original answers.

Review: Michael Herzfeld - Evicted from Eternity: The Restructuring of Modern Rome

2011-06-15T08:18:00.000-07:00

published by The University of Chicago Press 2009

Michael Herzfeld's 'Evicted from Eternity' is an intimate study of the Roman district of Monti and the pressures it was under as the city experienced the processes of gentrification around the change of the millennium in the year 2000. The Jubilee, or Holy Year, would require large scale infrastructural changes in preparation for the anticipated massive influx of pilgrims. New accommodation and traffic planning would have long term impacts on the established residents of the historic rioni, aging and slowly dwindling in number as younger people continued to move to Rome's suburbs. Herzfeld describes a certain fatalism amongst the population of Monti, a worldweariness brought on by generations of endurance of the demands of the various authorities under which they live.

Herzfeld's narrative finds him embedded in the community of Monti, documenting the daily lives of local residents and small businesses clinging to a district surrounded by national and international interests. The interpretation of how these powerful neighbours impact on the residents, however, grows increasingly vague the more distant the motives of the organisations become. So in discussing the machinations of the Roman civic administration of Francesco Rutelli much telling detail is relayed. With the Italian national authorities the generally held view of the negative effects of bureaucratic inertia is taken as read. Lastly, the activities of the Roman curia are treated as generally malign and all pervasive, as if the events of 20 September 1870 had not taken place. In contrast the enthusiasm shown by the local priest for the physical fabric of his parish and its history is treated with particular sympathy.

Broadly, Herzfeld is skeptical of the Italian civic values identified by Robert D. Putnam, and contrasts them with a sense of civility, often the expression of a social obligation which can be far from benign, and which he ascribes ultimately to the pervasive presence of loan sharks. He is rather romantic about Roman working class life, and appears somewhat naive about the continued economic viability of artisanal life. The largely impoverished Eastern European visitors to the district, drawn especially to the Ukrainian church in the main piazza, do not fit into the ideal of a homogeneous community, and are observed guardedly.

The long suffering residents of a building on Via degli Ibernesi become the focus of the book's finale, as they struggle to avoid eviction by banks and property companies intent on realising the market value of a building adjacent to the ancient Forum. Herzfeld observes this conflict, unapologetically from a viewpoint sympathetic to the occupants, but keen to map the contemporary paradox where an ostensibly left-wing cause could embarrass a left-leaning city administration. Opportunistic right-wingers were able to step into the void in defence of these 'authentic' Romans and gain a short term political advantage.

The transplanting of local populations, a common feature of Roman life since the restructuring for Roma Capitale following 1870, is a factor which has changed the social mix in many European cities, and is likely to continue in the wake of the current economic crisis. The unique situation of Rome is not conditioned by the persistent influence of theological concepts like original sin to which the author devotes much space in the book. The city's fragmentation in urban form is a demonstration of its particular brand of eternity which has always accommodated change, its citizens embracing transformation as enthusiastically as they maintain its traditions.

Eamonn Canniffe

Forgotten Spaces of Sheffield: Pigs, Bees and Bells

2011-06-12T06:31:00.000-07:00

This project reconfigured the forgotten interstices between five layers of
urban connection, a road, a river, a tramline, a canal and an underpass.
It works within the existing conditions of contour and material to create
useful space from a fragmentary and abandoned territory. A sublime
warren of hidden rivers, looking-glass like industrial waterways, light rail
viaducts, crawling road traffic and gloomy subterranean passages requires
it's own inhabitants, the individualist and inquisitive snouts of
orchard-dwelling Gloucester Old Spots, contrasting with the 'big
society' of the floating bee hives. The industrial productivity of the space is
manifested by the casting of a carillon of bells suspended underneath the
viaduct adjacent to Granelli's sweet shop, where honey based confectionery
might be purchased. This strategy does not just reclaim the streets, it
reclaims the spaces left over after planning!

A competition entry prepared with David Britch and Stephen Martlew

Jersey? Sure!

2011-06-09T08:03:00.000-07:00

I was pleased to discover that my 2006 book Urban Ethic: Design in the Contemporary City is referred to in Steven M. Richman's Reconsidering Trenton: The Small City in the Post-Industrial Age

David Chipperfield: Hepworth Wakefield (2011)

2011-06-06T07:48:00.000-07:00

David Adjaye: Wakefield Market (2008)

2011-06-03T07:22:00.000-07:00

Chantry Chapel of St. Mary the Virgin, Wakefield 1356

2011-05-31T07:04:00.000-07:00

'Manchester is a red brick city': Southmill Street & Central Street, Manchester

2011-05-28T06:15:00.000-07:00

Elisabeth Frink at Yorkshire Sculpture Park

2011-05-25T06:17:00.000-07:00

Adam Kahn: Brockholes Nature Reserve 2011

2011-05-22T09:04:00.000-07:00

Jaume Plensa at Yorkshire Sculpture Park

2011-05-19T08:50:00.000-07:00

Hereford Cathedral: Tombs

2011-05-16T08:18:00.000-07:00

Hereford Cathedral: Interior

2011-05-13T08:15:00.000-07:00

Tom Denny: Thomas Traherne Windows, Hereford Cathedral

2011-05-10T09:48:00.000-07:00

Hereford Cathedral: Exterior

2011-05-07T09:35:00.000-07:00

Shrine of St. Thomas de Cantelupe, Hereford Cathedral

2011-05-04T06:45:00.000-07:00

Charles Day: St. Francis Xavier, Hereford (1837-39)

2011-05-01T07:27:00.000-07:00

Modelos de la Arquitectura Moderna 1945-1990

2011-04-28T06:57:00.000-07:00

A cover of the forthcoming Spanish language edition of Modern Architecture through Case Studies 1945-1990 to be published by Editorial Reverté Barcelona. The book was co-authored with Peter Blundell Jones.

Sir Edward Maufe: St.Columba's Church of Scotland, Chelsea (1955)

2011-04-25T05:46:00.000-07:00

William Butterfield: St.John the Baptist, Bamford (1861)

2011-04-22T05:43:00.000-07:00

Merz Barn at the Royal Academy

2011-04-19T08:34:00.000-07:00

Speakman, Son and Hickson: Chepstow House, Manchester (1874)

2011-04-16T08:32:00.000-07:00

Royal Arcade, Old Bond Street, London (1879)

2011-04-13T02:47:00.000-07:00

Thomas Worthington: Overseers' and Churchwardens' Offices, 46 Fountain Street, Manchester (1852-58)

2011-04-10T02:45:00.000-07:00

James Gibbs: Marylebone Chapel, London (1721-4)

2011-04-07T02:33:00.000-07:00

William G. Higginbottom: Canada House, Manchester (1909)

2011-04-04T06:25:00.000-07:00

The Architectural Consequences of the Future

2011-04-01T09:30:00.000-07:00

David T. Fortin's book ARCHITECTURE AND SCIENCE FICTION: PHILIP K.DICK AND THE SPECTACLE OF HOME will be published in May 2011, the fourth book in the Ashgate Studies in Architecture series edited by Eamonn Canniffe

The home is one of our most enduring human paradoxes and is brought to light tellingly in science-fiction (SF) writing and

film. However, while similarities and crossovers between architecture and SF have proliferated throughout the past

century, the home is often overshadowed by the spectacle of 'otherness'. The study of the familiar (home) within the alien

(SF) creates a unique cultural lens through which to reflect on our current architectural condition. SF has always been

linked with alienation; however, the conditions of such alienation, and hence notions of home, have evidently changed.

There is often a perceived comprehension of the familiar that atrohpies the inquisitive and interpretive processes

commonly activated when confronting the unfamiliar. Thus, by utilizing the estranging qualities of SF to look at a concept

inherently linked to its perceived opposite - the home - a unique critical analysis with particular relevance for contemporary

architecture is made possible.

Harry S. Fairhurst: Lee House, Manchester (1928-31)

2011-03-28T09:21:00.000-07:00

Sir Edwin Lutyens et.al: The Cenotaph, Manchester 1923-24

2011-03-26T09:43:00.000-07:00

Richard Harding Watt (and W. Longworth): Gaskell Memorial Tower, Knutsford (1907-08)

2011-03-23T09:40:00.000-07:00