The Bridges Of Robert Adam

The bridge has always stood as a transitional structure - not purely a work of engineering, nor simply a work of architecture. Its functional requirements are more stringent than those of the average building; it not only must stand up; it must stand up, support those who cross it, and effectively span the space over which it stands. As Samuel Johnson said, "the first excellence of a bridge is strength ... for a bridge that cannot stand, however beautiful, will boast its beauty but a little while." The Scottish architect Robert Adam (1728-92) understood these precepts well, continually building bridges that were not just structurally sound, but also aesthetically pleasing. Unlike his contemporaries, Adam did not view bridges as mere skeletons upon which to apply ornament. Rather, he sought to achieve architectural totality, incorporating his bridge designs into greater architectural programs, thereby producing aesthetically pleasing and contextually specific designs. From the Pulteney Bridge in Bath to the ruined arch and viaduct at Culzean Castle in Ayrshire, The Bridges of Robert Adam: A Fanciful and Picturesque Tour will take the reader across Britain, shedding new light on an understudied aspect of the great architect's career.

This volume is a unique compendium of the works of Robert and James Adam, both built and unbuilt. It includes 900 illustrations. The Complete Works of Robert and James Adam is reprinted here in its entirety, updated and corrected. This title covers every one of the 230 or so built works, including 12 that have been recently discovered. It is complemented by a completely new title, Unbuilt Adam. This mentions all the brothers' important unbuilt projects, and it discusses and illustrates 130 of them. This volume gives an exceptionally thorough review of the brothers' designs. From public buildings to country houses, and monuments to ceilings, it is well informed and erudite. It provides a mine of information for both the expert and the general reader, and it uses the works covered to give an understanding of the Adam manner.

For 2,000 years the most durable spanning structures have been built of masonry, and the surviving bridges of the Roman Empire have challenged master masons, architects and engineers to emulate and surpass them. Down the centuries, bridge-builders have been commissioned by monarchs, bishops, councils of state, cities, private individuals and, more recently, waterway and railway companies. The studies collected in this volume focus chiefly on the bridges, viaducts and aqueducts themselves and the actions of the designers and builders, but also encompass the political, economic and social contexts and outcomes of their creation. Famous bridges in Britain, Italy, France, Iran and the USA are all featured. Narratives of conception, design and construction predominate, but there are also papers on construction techniques, on the analysis of documentary sources, and on the continuing search by modern engineers for satisfactory scientific description of the strength and stability of arch bridges.

First published in 1999, this book explores how, from the stone bridges of neoclassicism which soar out of wild woods to span pastoral valleys to the post-1750 engineer’s bridge with its links to the more industrial landscape, the bridge was a popular feature in painting throughout the period 1700-1920. Why did so many artists choose to portray bridges? In this lavishly illustrated and intriguing book, John Sweetman seeks to answer this question. He traces the history of the bridge in painting and printmaking through a vast range of work, some as familiar as William Etty’s The Bridge of Sighs and Claude Monet’s The Railway Bridge at Argenteuil and others less well known such as Wassily Kandinsky’s Composition IV and C.R.W. Nevinson’s Looking Through the Brooklyn Bridge. Distinctive characteristics emerge revealing the complex role of the bridge as both symbol and metaphor, and as a place of vantage, meeting and separation.

This book is a comprehensive history of bridge building during the century.

This biographical reference work looks specifically at the lives, works and careers of those individuals involved in civil engineering whose careers began before 1830.

Here two aspects of this man and his work are for the first time integrated fully in one volume.

Audley End House in Essex - or Station 43 as it was known during the Second World War - was used as the principal training school for SOE's Polish Section between 1942 and 1944. Polish agents at the stately home undertook a series of arduous training courses in guerilla warfare before being parachuted into occupied Europe. In 1943, Audley End was placed exclusively under polish control, a situation unique within SOE. The training was tough and the success rate low, but a total of 527 agents passed through Audley End between 1942 and 1944. Ian Valentine has consulted a wide range of primary sources and interviewed Polish instructors and former agents who trained at Audley End to write the definitive account of this Essex country house and the vital but secret part it played in defeating Hitler. He examines the comprehensive training agents at Audley End and describes the work undertaken by Station 43's agents in Europe, set against the background of Polish wartime history. He also covers the vital link with the RAF's Special Duties squadrons, whose crews risked their lives dropping agents into occupied Europe. Station 43 breaks new ground in telling the hitherto until story of Audley End house and its role as a vital SOE training school.