Building On Ruins

Charles Barry's victory in the competition to design the new Houses of Parliament in 1836 has been widely regarded as the moment in English architecture when the influence of Greece gave way to Victorian Gothic. In this beautifully illustrated book, Frank Salmon redirects attention to the importance of classical archaeology in the education of British architects and to major classically-inspired buildings in Birmingham, Cambridge, Liverpool and the City of London, also commissioned in this period.

The Architecture of Ruins: Designs on the Past, Present and Future identifies an alternative and significant history of architecture from the sixteenth century to the twenty-first century, in which a building is designed, occupied and imagined as a ruin. This design practice conceives a monument and a ruin as creative, interdependent and simultaneous themes within a single building dialectic, addressing temporal and environmental questions in poetic, psychological and practical terms, and stimulating questions of personal and national identity, nature and culture, weather and climate, permanence and impermanence and life and death. Conceiving a building as a dialogue between a monument and a ruin intensifies the already blurred relations between the unfinished and the ruined and envisages the past, the present and the future in a single architecture. Structured around a collection of biographies, this book conceives a monument and a ruin as metaphors for a life and means to negotiate between a self and a society. Emphasising the interconnections between designers and the particular ways in which later architects learned from earlier ones, the chapters investigate an evolving, interdisciplinary design practice to show the relevance of historical understanding to design. Like a history, a design is a reinterpretation of the past that is meaningful to the present. Equally, a design is equivalent to a fiction, convincing users to suspend disbelief. We expect a history or a novel to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The architect is a ‘physical novelist’ as well as a ‘physical historian’. Like building sites, ruins are full of potential. In revealing not only what is lost, but also what is incomplete, a ruin suggests the future as well as the past. As a stimulus to the imagination, a ruin’s incomplete and broken forms expand architecture’s allegorical and metaphorical capacity, indicating that a building can remain unfinished, literally and in the imagination, focusing attention on the creativity of users as well as architects. Emphasising the symbiotic relations between nature and culture, a building designed, occupied and imagined as a ruin acknowledges the coproduction of multiple authors, whether human, non-human or atmospheric, and is an appropriate model for architecture in an era of increasing climate change.

In the immediate centuries after the Romans' destruction of Jerusalem and its Temple in 70 CE, Jews and Christians offered contrasting religious explanations for the razing of the locus of God's presence on earth. Adam Gregerman analyzes the views found in three early Christian texts (Justin's Dialogue with Trypho, Origen's Contra Celsum, and Eusebius' Proof of the Gospel) and one rabbinic text (the Midrash on Lamentations), all of which emerged in the same place--the land of Israel--and around the same time--the first few centuries after 70. The author explores the ways they interpret the destruction in order to prove (in the case of Christians), or make it impossible to disprove (in the case of the Jews) that their community is the people of God. He demonstrates the apologetic and polemical functions of selected explanations, for claims to the covenant made by one community excluded those made by the other.

In (Re)using Ruins, Douglas Underwood presents the history of Roman urban public monuments in the Late Antique West, demonstrating that their vibrant, yet variable, development was closely tied to significant shifts in urban ideologies and euergetistic patterns.

"This title was first published in 2001. Charles Barry's victory in the competition to design the new Houses of Parliament in 1836 has been widely regarded as the moment in English architecture when the influence of Greece gave way to Victorian Gothic. In this illustrated book, Frank Salmon redirects attention to major classically-inspired buildings in Birmingham, Cambridge, Liverpool and the City of London, also commissioned in this period after competitions had been held. He argues that these buildings bear witness to a self-conscious and more widespread identification with the ancient Roman world among the English middle classes, an identification tied to the expression of civic culture and pride during this time of political upheaval and social reform. The 18th-century fascination with the classical world, manifested in the Grand Tour and in British country houses, is a much-studied cultural phenomenon. In this book, Frank Salmon shows how study in Italy, an essential part of British architectural training in the second half of the 18th century, continued on beyond the Napoleonic period, during which there had been significant advances in the unearthing of ancient ruins. The knowledge of the ruins of Rome and Pompeii after 1815 made possible detailed imaginative reconstructions of the Roman townscape, distinct in type from 18th-century representations, that helped trigger a popular fascination with Roman society and architecture. Salmon's account of the commissioning of buildings of explicitly Roman character in England offers a fascinating insight into this preoccupation with Rome and the symbolic intentions of the architects' civil and academic patrons."--Provided by publisher.

This title was first published in 2001. Charles Barry's victory in the competition to design the new Houses of Parliament in 1836 has been widely regarded as the moment in English architecture when the influence of Greece gave way to Victorian Gothic. In this illustrated book, Frank Salmon redirects attention to major classically-inspired buildings in Birmingham, Cambridge, Liverpool and the City of London, also commissioned in this period after competitions had been held. He argues that these buildings bear witness to a self-conscious and more widespread identification with the ancient Roman world among the English middle classes, an identification tied to the expression of civic culture and pride during this time of political upheaval and social reform. The 18th-century fascination with the classical world, manifested in the Grand Tour and in British country houses, is a much-studied cultural phenomenon. In this book, Frank Salmon shows how study in Italy, an essential part of British architectural training in the second half of the 18th century, continued on beyond the Napoleonic period, during which there had been significant advances in the unearthing of ancient ruins. The knowledge of the ruins of Rome and Pompeii after 1815 made possible detailed imaginative reconstructions of the Roman townscape, distinct in type from 18th-century representations, that helped trigger a popular fascination with Roman society and architecture. Salmon's account of the commissioning of buildings of explicitly Roman character in England offers a fascinating insight into this preoccupation with Rome and the symbolic intentions of the architects' civil and academic patrons.

"With Ghostly Ruins, author Harry Skrdla guides your tour of thirty abandoned locations from around the country - homes and hotels, power plants and prisons, whole neighborhoods and even entire towns. These are the happy memories of your grandparents' and great-grandparents' childhoods, such as the United Artists movie palace in Detroit, the rollercoasters at Chippewa Lake Park in Medina, Ohio, and the Palace of Fine Arts from the Chicago World's Fair." "And then there are the structures that were massive and forbidding even at their peaks, before falling to disrepair: the Bethlehem Steel Mill and Eastern State Penitentiary in Pennsylvania and Bannerman's Castle, a munitions depot stranded on a lonely island in upstate New York. Even the works of some of our nation's most revered architects are not impervious to decay. Witness Albert Kahn's Packard Plant and Philip Johnson's New York State Pavilion." "Perhaps eeriest of all are the ghost towns of Bodie, California and Centralia, Pennsylvania, where a trash fire in a nearby mine exploded into an underground inferno in 1962. The fire still blazes today. Skrdla shows you all this and more, telling the tale of each place in its prime and the story behind its fall, accompanied by more than two hundred photographs depicting these locations at both yesterday's historic heights and today's decrepit depths."--BOOK JACKET.

A stunning short story collection about love and loss and longing.