Notes
Introduction
1. Quoted in Margaret Belcher, The Collected Letters of A. W. N. Pugin, vol. 2 (Oxford: Oxford University Press, 2003), 16–17.
2. For realism or “reality,” see Chris Brooks, The Gothic Revival (London: Phaidon, 1999), 305.
3. Voysey described his aims in building as “reverence, love, justice, mercy, honesty, candour, generosity, humility, loyalty, order, and dignity,” to quote a typical sequence from his book Individuality (C. F. A. Voysey, Individuality [London: Chapman & Hall, 1915], 11); Libeskind’s choice of vocabulary has increasingly been lampooned, notably by Miles Glendinning, for example in his Architecture’s Evil Empire: The Triumph and Tragedy of Global Modernism (London: Reaktion, 2010), 123.
4. Adam Summerfield, “Rethinking Medway—a Proposal for Democratic Participation in the Development of Chatham Waterfront,” undergraduate dissertation, University of Kent, Canterbury, 2008.
5. C. F. A. Voysey, “Ideas in Things,” in The Arts Connected with Building, ed. T. Raffles Davison (London: Batsford, 1909), 101–137.
6. Described in Alison Lurie, Not in Front of the Grown-Ups (London: Sphere Books, 1991), 68.
7. Nikolaus Pevsner, The Buildings of England: London: Volume One, The Cities of London and Westminster (Harmondsworth: Penguin, 1973), footnote, 183.
8. English Heritage rejection note 473855, dated November 19, 2012.
9. See Timothy Brittain-Catlin, “Downward Trajectory: Towards a Theory of Failure,” Architecture Research Quarterly 15, no. 3 (2011): 139–147.
10. A. Stuart Gray, Edwardian Architecture: A Biographical Dictionary (London: Duckworth, 1985), 178.
11. Bill Fawcett, The North Eastern Railway’s Two Palaces of Business (York: Friends of the National Railway Museum, 2001); see also Timothy Brittain-Catlin, “Horace Field and Lloyds Bank,” Architectural History 53 (2010): 271–294.
12. Roger Cunliffe, in conversation with the author in November 2010. He told me that both he and the primary designer of the building, Stirrat Johnson-Marshall, had always intended it to be a temporary exhibition pavilion—that was the whole point of it, he said.
13. In “Ideas in Things,” C. F. A. Voysey wrote about this at some length; for example: “At sunset we see horizontal lines as if all nature were reclining and preparing for rest, dim light drawing a veil over disturbing detail” (Voysey, “Ideas in Things,” 115). Pevsner, by contrast, wrote of Voysey’s Broadleys of 1898: “from this centre bay with its completely unmoulded mullions and transoms, from these windows cut clean and sheer into the wall, access to the architectural style of today [1936] could have been direct, more direct probably than from the designs of those few in England who in the late nineties appeared more revolutionary than Voysey” (Nikolaus Pevsner, Pioneers of Modern Design: From William Morris to Walter Gropius [Harmondsworth: Penguin, 1960], 162). Pevsner was of course right, and Voysey either wrong or dissimulating.
14. See Andrew Dolkart, The Row House Reborn: Architecture and Neighborhoods in New York City, 1908–1929 (Baltimore: Johns Hopkins University Press, 2009).
15. Reyner Banham, “The Style: ‘Flimsy . . . Effeminate?,’” in A Tonic to the Nation: The Festival of Britain 1951, ed. Mary Banham and Bevis Hillier (London: Thames & Hudson, 1976), 193.
16. For example, in Deyan Sudjic, Norman Foster: A Life in Architecture (London: Weidenfeld & Nicolson, 2010).
17. Francesco Dal Co, Kurt W. Forster, and Arnold Hadley, Frank O. Gehry: The Complete Works (New York: Monacelli Press, 1998), 19.
18. Paul Oliver, Ian Davis, and Ian Bentley, Dunroamin: The Suburban Semi and Its Enemies (London: Barrie & Jenkins, 1981); Gavin Stamp, “Neo-Tudor and Its Enemies,” Architectural History 49 (2006): 1–33.
19. Andrew Ballantyne and Andrew Law, Tudoresque: In Pursuit of the Ideal Home (London: Reaktion, 2011).
20. Alex Ross, The Rest Is Noise: Listening to the Twentieth Century (London: Harper Perennial, 2009), 417.
21. Guardian, March 30, 2007: see http://www.guardian.co.uk/stage/theatreblog/2007/mar/30/onstagenudityletsgrowupno.
Chapter 1
1. Nitza Metzger-Szmuk, Batim min hachol: adrikhalut hasignon habeinleumi beTel Aviv, 1931–1948 (Tel Aviv: Ministry of Defense, 1994), 146.
2. These are described in Bill Fawcett, The North Eastern Railway’s Two Palaces of Business (York: Friends of the National Railway Museum, 2001), 47–56.
3. Timothy Brittain-Catlin, “Horace Field and Lloyds Bank,” Architectural History 53 (2010): 271–294, passim.
4. Horace Field and Michael Bunney, English Domestic Architecture of the XVII and XVIII Centuries: A Selection of Examples of Smaller Buildings / Measured, Drawn and Photographed, with an Introduction and Notes by Horace Field and Michael Bunney (London: George Bell, 1905; 2nd edn. 1928).
5. This was my conclusion when researching “Horace Field and Lloyds Bank”: see 284.
6. Horace Field, “Architectural Reminiscences—no. 14,” The Builder (October 11, 1946): 370.
7. See Timothy Brittain-Catlin, “Downward Trajectory: Towards a Theory of Failure,” Architecture Research Quarterly 15, no. 3 (2011): 139–147.
8. Lawrence Weaver, Small Country Houses of To-day (London: Country Life, 1911), 48.
9. Nikolaus Pevsner, Elizabeth Williamson, and Geoffrey K. Brandwood, The Buildings of England: Buckinghamshire (London: Penguin, 1994), 164.
10. Jean-Marie Rouart, La noblesse des vaincus (Paris: Grasset, 1997).
11. Die Architekten, directed by Peter Kahane and produced by DEFA; East Germany, 1989–1990.
12. The recurrent theme of Jeremy Till, Architecture Depends (Cambridge, Mass: MIT Press, 2009), but also in his earlier writing, for example “The Architecture of the Impure Community,” in Occupying Architecture: Between the Architect and the User, ed. Jonathan Hill (London: Routledge, 1998).
13. Niels L. Prak, Architects: The Noted and the Ignored (Chichester: John Wiley & Sons, 1984), especially 12–14.
14. Howard Colvin, A Biographical Dictionary of British Architects 1600–1840 (New Haven: Yale University Press, 1995), 417.
15. Frank Lloyd Wright, An Autobiography (London: Quartet, 1977), 90–92.
16. Ibid., 154–155.
17. Alan Hess and Alan Weintraub, The Architecture of John Lautner (London: Thames & Hudson, 1999), 29, 31, 33.
18. Jane Ridley, The Architect and His Wife: A Life of Edwin Lutyens (London: Chatto & Windus, 2002), 396.
19. Gavin Stamp, An Architect of Promise: George Gilbert Scott Junior (1839–1897) and the Late Gothic Revival (Donington: Shaun Tyas, 2002), 329–331, 341.
20. For the syphilis claim, see Christabel Powell, Augustus Pugin, Designer of the British Houses of Parliament (Lampeter: Edwin Mellen Press, 2006), 9, for what seems to be the first published reference; the hypothesis is a significant theme in the later chapters of Rosemary Hill, God’s Architect: Pugin and the Building of Romantic Britain (London: Penguin, 2007). For Edward Pugin, see Catriona Blaker, Edward Pugin and Kent (Ramsgate: Pugin Society, 2003), 60–61; Gerard Hyland, “Edward Welby Pugin, Architect, 1834–75,” True Principles, the Journal of the Pugin Society 4, no. 1 (Autumn 2009): 51–55.
21. Gerard Hyland, “The E. W. Pugin Gazetteer Part 2,” True Principles, the Journal of the Pugin Society 3, no. 5 (Autumn 2008): 48.
22. Christopher Spencer and Geoffrey Wilson, Elbow Room: The Story of John Sydney Brocklesby, Arts and Crafts Architect (London: Ainsworth and Nelson in conjunction with Christopher Spencer, Graystones Press and Dasprint Ltd., 1984), 47.
23. Louise Kehoe, In This Dark House (Harmondsworth: Penguin, 1997), for example 48–52.
24. For Utzon and the Opera House, see Andrew Saint, Architect and Engineer: A Study in Sibling Rivalry (New Haven: Yale University Press, 2007), 371–377; for Zunz, ibid., 377.
25. Quoted in Regina Stephan, “One of the Most Lovable People and at the Same Time One of the Most Unpleasant: Mendelsohn and His Assistants in the 1920s and Early 1930s,” in Stephan, ed., Erich Mendelsohn, Dynamics and Function: Realized Visions of a Cosmopolitan Architect (Ostfildern-Ruit: IFA, 1999), 156.
26. Walter Gropius seems to have been the most vicious of them: see Kathleen James, Erich Mendelsohn and the Architecture of German Modernism (Cambridge: Cambridge University Press, 1997), 246.
27. Ita Heinze-Greenberg, “We’ll Leave It to the Schultzes from Naumburg to Ignore the Mediterranean as the Father of the International Art of Composition,” in Stephan, ed., Erich Mendelsohn, 189.
28. Elizabeth Darling, Wells Coates (London: RIBA Publishing, 2012), 99–105 (BBC), 143–151 (gazetteer).
29. John Martin Robinson, James Wyatt, 1746–1813: Architect to George III (London: Paul Mellon Centre for Studies in British Art, 2012), especially xi–xii, 20, 303.
30. Stamp, Architect of Promise, 295.
31. Nikolaus Pevsner, “Goodhart-Rendel’s Roll-Call,” in Edwardian Architecture and Its Origins, ed. Alastair Service (London: Architectural Press, 1975), 479.
32. Obituary by Edwin Johnson, Architectural Review (July 1991): 9.
33. Peter Blundell Jones, email to author, November 13, 2012. For a detailed account of Hübner, see Peter Blundell Jones, Peter Hübner: Building as a Social Process / Peter Hübner: Bauen als sozialer Prozeß (Fellbach: Axel Menges, 2007).
34. My thanks to Björn Ehrlemark for this: he adds that there is a dissertation on Wallberg in Swedish from 1993, but not much else.
35. Chris Foges, “Making Sense of Place,” Architecture Today (October 2012): 8–11. One of Gordon’s buildings, the now demolished Trinity Square car park in Gateshead, northeast England, of 1962, achieved cult status for its role in the Michael Caine film Get Carter (1971).
36. David Watkin, Visions of World Architecture (London: Sir John Soane’s Museum, 2007), 15.
37. Christopher Webster, R. D. Chantrell (1793–1872) and the Architecture of a Lost Generation (Reading: Spire, 2010); Margaret Belcher, The Collected Letters of A. W. N. Pugin, vol. 2 (Oxford: Oxford University Press, 2003), 252, 288–289.
38. Colvin, Biographical Dictionary, 278–279. See Diana Burfield, Edward Cresy 1792–1858: Architect and Civil Engineer (Donington: Shaun Tyas, 2003) for the full story.
39. Timothy Brittain-Catlin, The English Parsonage in the Early Nineteenth Century (Reading: Spire, 2008), 200–210.
40. Malcolm Borg, British Colonial Architecture, Malta 1800–1900 (San Gwann, Malta: Publishers Enterprise Group, 2001), 44–49.
41. Described in Susan Hattis Rolef, “The Knesset Building in Giv’at Ram—Planning and Construction,” originally published in Hebrew in Cathedra (Journal for Holy Land Studies) 96, Yad Izhak Ben-Zvi, Jerusalem, July 2002; English language version available at http://www.knesset.gov.il/building/architecture/eng/article1_eng.htm.
42. This was how Ya’aqov Rechter described him to me, to my astonishment, in a conversation in the mid-1990s.
43. Charles Saumarez Smith, The Building of Castle Howard (London: Faber & Faber, 1990), 70.
44. Ibid., 184.
45. Charles Jencks, Modern Movements in Architecture (Harmondsworth: Penguin, 1973), 20–25.
46. Timothy Brittain-Catlin, Leonard Manasseh and Partners (London: RIBA Publishing, 2010), 80–85.
47. The architect of this recent remodeling was Ram Karmi, one of those who had displaced Klarwein at the Knesset 50 years earlier. According to the HaAretz newspaper on October 11, 2010, Karmi’s response to critics of his new design was they could “kiss my ass”: http://www.haaretz.com/print-edition/business/habima-architect-tells-critics-kiss-my-ass-1.318315.
48. Myra Wahrhaftig, They Laid the Foundation: Lives and Works of German-Speaking Jewish Architects in Palestine 1918–1948 (Berlin: Wasmuth, 2007), 158–160.
49. I am grateful to Ellis Woodman for drawing my attention to Reynolds, who in his opinion provided some of the inspiration behind Stirling and Gowan’s Leicester University Engineering Faculty building. My sincere thanks to Edward Bottoms, archivist at the AA, for kindly providing documentation on Reynolds, including his obituary: W. G. Howell, “Edward Reynolds,” Architectural Association Journal (February 1959): 218.
50. So his doctors told the Architects’ Journal (February 5, 1986): 17. Richmond apartments: Architects’ Journal (September 26, 1935): 449–450, 453–457. Ray Cecil wrote monthly about the emerging legal dangers for architects in the RIBA Journal from the mid-1980s. Times obituary: February 5, 1986.
Chapter 2
1. Nikolaus Pevsner and Bill Wilson, Norfolk 2: North West and South (London: Penguin, 1999), 683.
2. See Adam Menuge, Oxburgh Hall, Oxborough, Norfolk: A Survey and Investigation of the Moated House (London: English Heritage, 2006), for a full description of the building.
3. http://www.catholicparish-swaffham.org.uk/index.php?module=pagesmith&id=38.
4. Peter Blundell Jones, “Richmond Riverside: Sugaring the Pill,” Architectural Review (November 1988): 90.
5. For a recent overview of the Essex Design Guide, see Elain Harwood and Alan Powers, “From Downtown to Diversity: Revisiting the 1970s,” in Twentieth Century Architecture 10: The Seventies, ed. Elain Harwood and Alan Powers (London: Twentieth Century Society, 2012), 22–24.
6. Matthew Habershon, The Ancient Half-Timbered Houses of England (London: John Weale, 1836–1839). For St. James’ Cathedral, Mount Zion, see Howard Colvin, A Biographical Dictionary of British Architects 1600–1840 (New Haven: Yale University Press, 1995), 442, 547.
7. Mark Girouard, Elizabethan Architecture: Its Rise and Fall, 1540–1640 (New Haven: Yale University Press for the Paul Mellon Centre for British Art, 2009).
8. A. W. N. Pugin, Contrasts, or a Parallel between the Noble Edifices of the Middle Ages, and the Corresponding buildings of the Present day; shewing the Present Decay of Taste, 2nd edn. (London: Charles Dolman, 1841), 65.
9. Alfred Bartholomew, Specifications for Practical Architecture, Preceded by an Essay on the Decline of Excellence in the Structure and in the Science of Modern English Buildings, with the Proposal of Remedies for those Defects (London: John Williams, 1840), I-XVIII-623.
10. Ibid., I-LXVIII-632.
11. Ibid., I-LXXIII-641.
12. Joseph Gwilt, An Encyclopaedia of Architecture, Historical, Theoretical and Practical (London: Longman, Brown, Green, and Longman, 1842), §437, 195.
13. For Tudor massing and details on a neoclassical style, see Averham rectory, Nottinghamshire, in Timothy Brittain-Catlin, The English Parsonage in the Early Nineteenth Century (Reading: Spire, 2008), 110, fig. 2.57; for transgendered architecture, and in particular Norton vicarage in Hertfordshire, see ibid., 112–113, figs. 2.63–2.64.
14. See ibid., passim.
15. Devey: see Jill Allibone, George Devey Architect, 1820–1886 (Cambridge, UK: Lutterworth Press, 1991), especially 135, 141. Shaw: see Andrew Saint, Richard Norman Shaw (New Haven: Yale University Press, 2010), 105–106.
16. Peter Mandler, The Fall and Rise of the Stately Home (New Haven: Yale University Press, 1997), part one chapter one, “The Victorian Idea of Heritage,” 20–69.
17. P. H. Ditchfield, The Charm of the English Village (London: Batsford, 1908), 40.
18. P. H. Ditchfield, The Manor Houses of England (London: Batsford, 1910), 3–4.
19. Oliver, Davis & Bentley, Dunroamin; Stamp, “Neo-Tudor”; Ballantyne and Law, Tudoresque; and John Betjeman’s BBC film Metro-land (directed and produced by Edward Mirzoeff, 1972–1973).
20. Thomas Garner, The Domestic Architecture of England During the Tudor Period, with an introduction by Arthur Stratton (London: Batsford, 1911), vi.
21. Pugin, Contrasts, 57. Original emphasis.
22. A. W. N. Pugin, An Apology for the Revival of Christian Architecture (London: John Weale, 1843), footnote, 3.
23. Ibid., 15–16. See also Bartholomew, Specifications, I-XLII-384.
24. Vanbrugh, on seeing the name of the talentless neo-Palladian architect Thomas Ripley in a newspaper: “such a Laugh came upon me, I had like to Beshit myself” (Colvin, Biographical Dictionary, 819). But this was a private comment.
25. Alan Hollinghurst, The Stranger’s Child (London: Picador, 2011), 8.
26. Ibid., 8, 15, 29.
27. J. C. Loudon, An Encyclopaedia of Cottage, Farm, and Villa Architecture and Furniture (London: Longman, 1833), section 1338, 621.
28. Elizabeth Bowen, Eva Trout (London: Vintage, 1999), 79–80.
29. Alexandra Harris, Romantic Moderns: English Writers, Artists and the Imagination from Virginia Woolf to John Piper (London: Thames & Hudson, 2010), 56–57, 266–271.
30. Michael Cunningham, By Nightfall (London: Fourth Estate, 2010), 178–181.
31. H. S. Goodhart-Rendel, English Architecture since the Regency: An Interpretation (London: Constable, 1953), 225.
32. Helena Gerrish, Edwardian Country Life: The Story of H. Avray Tipping (London: Frances Lincoln, 2011), 52.
33. According to the chart published in the Guardian newspaper, December 29, 2013, and compiled on the basis of figures supplied by Nielsen BookScan, the autobiography of the entertainer and celebrity Cheryl Cole had sold 223,358 copies since its publication the previous October; by contrast, Mark Girouard’s Elizabethan Architecture, an accessible work of great scholarship produced by one of Britain’s finest and most influential architectural writers on the basis of a lifetime’s study, and illustrated with photography by the late Martin Charles, often described as the country’s most outstanding architectural photographer, had sold about 3,000 copies since its publication in Fall 2009 (figure from Yale University Press, January 2013). Cole’s book was therefore selling at a monthly rate of about 1,000 times that of Girouard’s.
34. Vincent Scully, “The Architecture of Community,” in Peter Katz, The New Urbanism: Toward an Architecture of Community (New York: McGraw-Hill, 1994), 228.
35. Kenneth Powell, “Erith in Context,” in Raymond Erith: Progressive Classicist 1904–1973, ed. Lucy Archer (London: Sir John Soane’s Museum, 2004), 23.
36. Ibid., 19.
37. Mark Lamster, “181 Renoirs, 69 Cézannes, 59 Matisses and 46 Picassos,” Architectural Review (August 2012): 60. In his recent interview with Chris Foges, the British critic Jonathan Meades deployed Wyndham Lewis’s comment that the Sitwell family of writers “were part of the history of publicity, not the history of literature” to suggest that the same applied to some well-known architects (in his opinion, Alvar Aalto, James Stirling, and the Smithsons): Chris Foges, “Making Sense of Place,” Architecture Today (October 2012): 10.
38. In Owen Williams, “Architecture—Trade, Profession or Calling,” Architectural Association Journal (January 1953): 102.
39. See Peter Blundell Jones, “Between Tradition and Modernity: The Reticent Architecture of David Lea,” Spazio e Società, no. 55 (October/December 1991); Peter Blundell Jones, “Traditional Values,” Architectural Review (August 1993).
40. Elain Harwood and Alan Powers, Tayler and Green Architects 1938–1973: The Spirit of Place in Modern Housing (London: The Prince of Wales’s Institute of Architecture, 1998), 66.
Chapter 3
1. “Architecture cannot be divorced from social and political concerns,” wrote Peter Davey in the Architectural Review of October 1981, 204, establishing his manifesto for his editorship.
2. J. M. Richards, Memoirs of an Unjust Fella (London: Weidenfeld & Nicolson, 1980), 118. Elain Harwood and Alan Powers have recently concluded that Hastings’s interest in architecture “was always political”: Elain Harwood and Alan Powers, “From Downtown to Diversity: Revisiting the 1970s,” in Twentieth Century Architecture 10: The Seventies, ed. Elain Harwood and Alan Powers (London: Twentieth Century Society, 2012), 11.
3. Richards, Unjust Fella, 90; Architects’ Journal (March 15, 1934): 379.
4. Letter, Architects’ Journal (January 24, 1935): 159–160.
5. When he spoke against the modernist principle of the comprehensive redevelopment of city centers, at the annual discourse of the Royal Institute of British Architects (RIBA). See J. M. Richards, “The Hollow Victory: 1932–1972,” RIBA Journal (May 1972): 192–197.
6. Richards, Unjust Fella, 134.
7. For my view of the process by which British Scandinavianism was born, see Timothy Brittain-Catlin, “Gunnar Asplund, by Peter Blundell Jones,” AA files, no. 53 (2006): 77–82.
8. See John Newman, The Buildings of England: North East and East Kent (Harmonds- worth: Penguin, 1983), 386.
9. Alan Powers, for Casson’s entry in the Oxford Dictionary of National Biography (online only, for subscribers).
10. Alison Smithson, “House in Soho,” Architectural Design (December 1953): 342; original emphasis. This was given as an important source soon afterward in Reyner Banham’s seminal “The New Brutalism,” Architectural Review (December 1955): 856–857, and its significance is emphasized by the fact that it was still being cited more than 50 years later, for example in Laurent Stadler, “‘New Brutalism’, ‘Topology’ and ‘Image’: Some Remarks on the Architectural Debates in England around 1950,” Journal of Architecture 13, no. 3 (June 2008): 264–265.
11. Peter Ahrends, who with his partners Paul Korelek and Richard Burton was a devoted former student and admirer of the Scandinavianist Leonard Manasseh, told me in a conversation of January 2010 that, nevertheless, the first new British building that really excited him was Stirling and Gowan’s Brutalist Engineering Faculty at Leicester, completed in 1963.
12. Kenneth Frampton, Modern Architecture: A Critical History (London: Thames & Hudson, 1985), 262.
13. Ibid., 264.
14. We noticed on a recent visit that the only person flashing a cock at Coventry is Epstein’s Devil, directed at visitors rising up along the main entrance steps.
15. Frampton, Modern Architecture, 264.
16. Alan Powers, Britain (London: Reaktion, 2007), 99. Powers refers to Frampton’s argument that there was no logical point of comparison between the type of traditional housing that the Smithsons admired, and the housing they designed themselves that was supposed to be related to it (109). Andrew Higgott, Mediating Modernism: Architectural Cultures in Britain (Abingdon: Routledge, 2007), chapter 4, provides a detailed description of the impact of the Smithsons and growth of Brutalism and its context in British architectural writing and publishing.
17. In Chris Foges, “Making Sense of Place,” Architecture Today (October 2012): 10.
18. Quoted in Barnabas Calder, “‘A Terrible Battle with Architecture’: Denys Lasdun in the 1950s, Part 2,” Architectural Research Quarterly 12, no. 1 (2008): 59.
19. Charles Jencks, Modern Movements in Architecture (Harmondsworth: Penguin, 1973), 20–25, 245.
20. Feeble: Reyner Banham, “The Style: ‘Flimsy . . . Effeminate?,’” in A Tonic to the Nation: The Festival of Britain 1951, ed. Mary Banham and Bevis Hillier (London: Thames & Hudson, 1976), 193, quoting from Lionel Brett, “Detail on the South Bank,” Design, no. 32 (1951): 5; landscaping: Banham, “The Style,” 197–198.
21. Peter Davey, “Outrage: Blue Blob in Birmingham,” Architectural Review (October 2003): 24; Ed Dorrel, “Future Systems’ Selfridges under Attack over Lack of Natural Lighting,” Architects’ Journal (July 10, 2003): 12.
22. Kieran Long, “Do Malls Really Excite Us Any More?,” Icon (September 2003): 129.
23. Building Design (anonymous; July 22, 2005): 5.
24. Damian Arnold, “Jan Wanted to Do Extraordinary Things,” Architects’ Journal (January 22, 2009): 11. In contrast to the many attacks, the perceptive and fair Ellis Woodman, writing in Building Design, found Kaplický’s Selfridges unexpectedly “terrific,” and Alan Phillips, in Architecture Today, was also sympathetic: Ellis Woodman, “Bull Market,” Building Design (September 5, 2003): 17; Alan Phillips, “Spoken into the Bloid,” Architecture Today (October 2003). Jonathan Glancey was also sympathetic: Kaplický was in his opinion “intelligent and gifted and interesting company; he ‘dared to be different,’ and I think this made many architects and critics (often a very conservative bunch) treat him unkindly”: email to author, October 23, 2012.
25. Kenneth Powell, Edward Cullinan Architects (London: Academy Editions, 1995), 47. My colleague Gerald Adler, who worked for the office in the 1980s, recalls long walks through Irish bogs as a form of social bonding.
26. Miles Glendinning, Architecture’s Evil Empire: The Triumph and Tragedy of Global Modernism (London: Reaktion, 2010), is, overall, a recent critique of this.
27. Foges, “Making Sense,” 8.
28. See Caroline Dakers, The Holland Park Circle: Artists in Victorian Society (New Haven: Yale University Press, 1999), 45–46; Mark Girouard, Sweetness and Light: The “Queen Anne” Movement 1860–1900 (Oxford: Oxford University Press, 1977), 4–5; Bridget Cherry and Nikolaus Pevsner, The Buildings of England: London 3: North West (New Haven: Yale University Press, 2002), 503.
29. Girouard, Sweetness and Light, 1.
30. Clough Williams-Ellis, England and the Octopus (London: Godfrey Bles, 1928), unnumbered plate.
31. See Timothy Brittain-Catlin, “Downward Trajectory: Towards a Theory of Failure,” Architecture Research Quarterly 15, no. 3 (2011): 144–145.
32. See Timothy Brittain-Catlin, “Horace Field and Lloyds Bank,” Architectural History 53 (2010): 282, 287–288; figs. 9, 19.
33. E. F. Benson, Mapp and Lucia (London: Penguin, 2004), 33.
34. Clive Aslet, “An Interview with the Late Paul Paget 1901–1985,” Thirties Society Journal, no. 6 (1987): 16. Wellington: the practice was called Gerald Wellesley and Trenwith Wills, and various high-society homosexuals—“Chips” Channon, Lord Berners—were among their clients. Wellesley succeeded his nephew to the dukedom in 1943 and died in 1972.
35. Gavin Stamp, The Great Perspectivists (London: Trefoil Books, 1982), and David Dean, The Thirties: Recalling the English Architectural Scene (London: Trefoil, 1983), mark the start of the process which has been carried on most notably since by Alan Powers and members of the Twentieth Century Society. “The Thirties,” a major retrospective exhibition of the decade at the Hayward Gallery in 1979, was still mainly modernist in tone, and had little of other styles in it.
36. In the former Terry’s shop at St Helen’s Square, by Lewis Wade, 1923–1924 (Nikolaus Pevsner and David Neave, The Buildings of England: Yorkshire: York and the East Riding [New Haven: Yale University Press, 2005], 230), although in fact the Quality Street brand originated with another manufacturer, Mackintosh’s of Halifax. The guide calls the style of the shop “Baroque revival,” but the ironwork surely is “Queen Anne.”
37. Information from the author’s conversation with Rupert Butler, May 2009, and his email of January 7, 2013. For the range of examples, see http://www.superquick.co.uk.
38. Durden’s granddaughter, the artist Janet Durden Hey, kindly identified the figures for me; her father was the boy at the window. Email to author, January 18, 2013.
39. Osbert Lancaster, A Cartoon History of Architecture (London: John Murray, 1975), 162. This observation and the reference to “Curzon Street Baroque” below were originally published in Lancaster’s Homes Sweet Homes (London: John Murray, 1953).
40. Hugh Walpole, Rogue Herries (London: Frances Lincoln, 2008), 480.
41. Ibid., 185, 105.
42. For morbidity, see note 54 below.
43. Rupert Hart-Davis, Hugh Walpole: A Biography (London: Macmillan, 1952). Walpole’s recent entry in the much more recent Oxford Dictionary of National Biography supplies no further information about his private life.
44. Aslet, “Paul Paget,” 16. In 1947 Seely succeeded to the peerage with the title of 2nd Baron Mottistone, but the name of the practice did not change. “Partners”: Eddie Anderson, Paget’s stepson, in an email to the author, July 8, 2010.
45. Eddie Anderson, in conversation with the author, August 22, 2010.
46. Aslet, “Paul Paget,” 19.
47. Timothy Brittain-Catlin, “Cabin Class,” The World of Interiors (April 2009).
48. Williams-Ellis, England and the Octopus, 79.
49. Lancaster, Cartoon History, 132–133. For a full description of the old and new parts of the palace, see Christopher Hussey, “Eltham Hall,” Country Life (May 15, 1937): 534–539; (May 22, 1937): 568–573; (May 29, 1937): 594–599.
50. The historian G. M. Young, in a letter to the Times, July 23, 1936, quoted in Jeremy Musson, “Eltham Palace, London,” Country Life (June 17, 1999): 86.
51. For the City Temple at Holborn, see The Builder, December 19, 1958.
52. Ashbee a failure: Clive Aslet in conversation with the author, March 2012. Failure and tragedy: Clive Aslet, The Last Country Houses (New Haven: Yale University Press, 1982), 238–243; for the Beauchamp story, see the wonderful section in ibid., 250–255.
53. For Wells, see Mosette Broderick, Triumvirate: McKim, Mead & White: Art, Architecture, Scandal and Class in America’s Gilded Age (New York: Alfred A. Knopf, 2010), 57–59, 276, 537.
54. See Richard Overy, The Morbid Age: Britain and the Crisis of Civilization, 1919–1939 (London: Allen Lane, 2009), especially chapters 1 and 2.
55. Brian Appleyard, Richard Rogers: A Biography (London: Faber & Faber, 1986), 35.
56. Richard Giles, Re-pitching the Tent (Norwich: Canterbury Press, 2004, 3rd edn.), 134.
57. Ibid., unnumbered plates between 112 and 113.
58. Ibid., 109.
59. Roger W. Moss, Historic Sacred Places of Philadelphia (Philadelphia: University of Pennsylvania Press, 2005), 221. The beautiful interior of Wakefield cathedral in Yorkshire, a combination of relatively minor interventions by different designers over the last 150 years, is currently under threat of going the same way as Philadelphia: see Timothy Brittain-Catlin, “On Margate Sands / I Can Connect / Nothing with Nothing,” AA Files, no. 63 (2011): 100–103.
60. The story is told in Deyan Sudjic, “Love It or Hate It, We Must Save the Commonwealth Institute,” Guardian, June 18, 2006; online at: http://www.guardian.co.uk/artanddesign/2006/jun/18/architecture.communities.
61. At a meeting of the Victorian Society’s Southern Buildings Sub-Committee which I attended as member, October 18, 2012.
62. Michael Yelton and John Salmon, Anglican Church-Building in London 1915–1945 (Reading: Spire, 2007).
Chapter 4
1. The personal information on Pleydell-Bouverie comes from the section by Stone of an unpublished obituary, located in his biographical file at the RIBA Library.
2. Thomas F. Ford, biographical file in the RIBA Library.
3. Ramsgate Historical Society: http://www.facebook.com/note.php?note_id=207221895968221 and http://www.stmarkschurchramsgate.co.uk/history%201.htm.
4. Albert Williamson, “The Church of St Mark Northwood Ramsgate,” photocopied typescript, 1993: available at Canterbury Cathedral Archives U3/283/28/1.
5. My thanks to Rev. Christopher Skingley for locating the drawings for me.
6. ICBS M1504 Folio 14ff.
7. Williamson, “St Mark,” 100.
8. Ibid.
9. In April 1965: ibid., 83.
10. My thanks to Kurt Helfrich at the BAL, and especially to Edward Bottoms at the AA. My biographical information on Flaxman comes from my telephone interview with him, December 15, 2012.
11. http://www.publications.parliament.uk/pa/cm199293/cmhansrd/1992-11-26/Writtens-1.html.
12. Percival W. Flaxman, “Notes on three Danish Gardens,” Architectural Association Journal (June 1951): 24. My thanks to Edward Bottoms for finding this.
13. See, for example, John Martin Robinson, The Latest Country Houses (London: Bodley Head, 1984), 136–142.
14. Obituary by M. J. Tree, Architects’ Journal (September 5, 1973): 530.
15. Ulrik Plesner, In Situ: An Architectural Memoir from Sri Lanka (Copenhagen: Aristo, 2012), 25. Plesner gives the date as 1932, but it appears from other evidence to have been the year after.
16. Helen Ashton, Bricks and Mortar (London: Victor Gollancz, 1932), 291.
17. See http://www.pem.cam.ac.uk/the-college/pembroke-past-and-present/.
18. http://www.thebentallcentre-shopping.com/download_files/TBC_FACT%20GUIDE%20v4.pdf. No date, but post-1992.
19. http://www.imperial.ac.uk/college.asp?P=2970, 491; Bridget Cherry and Nikolaus Pevsner, The Buildings of England: London 3: North West (New Haven: Yale University Press, 2002), 491; Bridget Cherry and Nikolaus Pevsner, The Buildings of England: London 2: South (New Haven: Yale University Press, 2002), 313.
20. P. A. Barron, The House Desirable: A Handbook for Those Who Wish to Acquire Homes that Charm (London: Methuen, 1929), 7.
21. C. F. A. Voysey, Individuality (London: Chapman & Hall, 1915), 89. Pugin is said himself to have drawn 1,000 drawings for the chamber of the House of Lords alone.
22. Stanford Anderson’s translation, from the revised edition of Muthesius’s Stilarchitektur und Baukunst: Stanford Anderson, ed., Style-Architecture and Building-Art: Transformations of Architecture in the Nineteenth Century and Its Present Condition / Hermann Muthesius (Santa Monica: Getty Center for History of Art and the Humanities, 1994), 91–92.
23. Adolf Loos, “Vom armen reichen Mann,” Neues Wiener Tageblatt, April 26, 1900.
24. David Watkin, Radical Classicism: The Architecture of Quinlan Terry (New York: Rizzoli, 2006), 15.
25. Basil Ionides, Colour and Interior Decoration (London: Country Life, 1926), 14.
26. See, for example, an article in the London Daily Telegraph, November 4, 2011: http://www.telegraph.co.uk/culture/tvandradio/downton-abbey/8868732/Downton-Abbey-historical-inaccuracies-and-mistakes-plaguing-ITV-show.html.
27. William Shakespeare, King Lear, Act II, Scene 4.
28. R. Randal Phillips, The House Improved (London: Country Life, 1931), viii.
29. Ibid., 22–23, 133, 15, 83.
30. Ibid., 46–51. The house is at 98 Hamilton Terrace: my thanks to Shirley and Romanos Brihi for tracking it down.
31. Ibid., 52–55, 110–115.
32. http://en.wikipedia.org/wiki/Howard_Spicer. References there cite the New York Times, August 18, 1926, and the Melbourne Argos, August 20, 1926.
33. For more on Bolton, see Jill Lever, “A. T. Bolton, Architect,” Architectural History 27 (1984): 429–442.
34. Lawrence Weaver, Small Country Houses of To-day (London: Country Life, 1911), 17–22.
35. Hookerel: W. Shaw Sparrow, ed., Flats, Urban Houses and Cottage Homes: A Companion Volume to “The British Home of To-day” (London: Hodder & Stoughton, 1907), 138–140; Dawber’s cottage is at Long Wittenham near Abingdon: it was published in both Britain (Anonymous, The Smaller House: Being Selected Examples of the Latest Practice in Modern English Domestic Architecture [London: Architecture Press, 1924], 68–71) and the USA (American Architect, 1923). The authors of the Berkshire “Pevsner” appear not to have known about the inside, as they describe the house as “not especially remarkable”: Geoffrey Tyack, Simon Bradley, and Nikolaus Pevsner, The Buildings of England: Berkshire (New Haven: Yale University Press, 2010), 364.
36. The interiors of the infirmary were designed by Steffian Bradley Architects, specialists in medical interiors.
37. Watkin addressed the doleful impact that popular archaeology has had on the history of architecture in his book on the Roman Forum, giving the example of the way in which archaeologists like to leave uncovered ancient foundations exposed in spite of their ugliness: see, for example, his The Roman Forum (London: Profile: 2009), 118–119, 123.
Chapter 5
1. P. A. Barron, The House Desirable: A Handbook for Those Who Wish to Acquire Homes that Charm (London: Methuen, 1929), 3.
2. Clough Williams-Ellis, England and the Octopus (London: Godfrey Bles, 1928), 15.
3. Todd W. Bressi, “Planning the American Dream,” in Peter Katz, The New Urbanism: Toward an Architecture of Community (New York: McGraw-Hill, 1994), xxxv.
4. Peter Katz, The New Urbanism: Toward an Architecture of Community (New York: McGraw-Hill, 1994), x.
5. Bressi, “Planning the American Dream,” xxxvi.
6. See Frances Mikuriya’s unpublished doctoral dissertation, “Duchy Unoriginal: The Prince of Wales and Architecture,” Architectural Association School of Architecture, London, 2011. Mikuriya adds that in her opinion the Prince regarded modernism between the 1960s and 1980s as if it were a kind of spreading disease.
7. Horst and Tim Street-Porter, “A Tale of One Coach-House and Two Ingenious Architects,” House & Garden (London) (June 1979): 96, 98. My thanks to Mosette Broderick for locating the house, and to Robert Stern and Peter Morris Dixon, of Robert A. M. Stern Architects, for their assistance and comments.
8. Roger Scruton, Beauty: A Very Short Introduction (Oxford: Oxford University Press, 2011), 69.
9. Muriel Spark, “The Go-Away Bird,” in The Go-Away Bird and Other Stories (London: Macmillan, 1958), 96–97.