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Salisbury Cathedral - English edition
Salisbury Cathedral - German edition
A classic Pitkin Guide which looks at the architecture of cathedrals through the ages. All students of architecture, history and religion will find this book absorbing, which is equally useful for visitors and tourists. Look out for more Pitkin Guides on the very best of British history, heritage and travel.
BBC Countryfile Magazine praised Dixe Wills for writing `intelligently and amusingly, with evident excitement and imagination', qualities that he brings to Tiny Churches. Beautifully presented in full colour throughout, the book uncovers 60 of the loveliest and most diminutive places of worship in Britain, many of which are known only to locals. Each church is so tiny that fewer than 50 people could fit comfortably inside, each is open to the public and many boast fabulous wall paintings, stained glass and artworks as well as fascinating histories. Representing a unique slice of British local history and attitudes, tiny churches are the great survivors of the world. Still standing after centuries of religious unrest and the meddling of the Victorian `church improvers', they live on in this most irreligious of centuries, scattered all over Britain. Each entry features information on how and when to visit the church, a concise round-up of its history and details of any must-see architectural features.
Through years of fieldwork in the state of Oaxaca, Mexico, art historian and archaeologist Alessia Frassani formulated a compelling question: How did Mesoamerican society maintain its distinctive cultural heritage despite colonization by the Spanish? In Building Yanhuitlan, she focuses on an imposing structure - a sixteenth-century Dominican monastery complex in the village of Yanhuitlan. For centuries, the buildings have served a central role in the village landscape and the lives of its people. Ostensibly, there is nothing indigenous about the complex or the artwork inside. So how does such a place fit within the Mixteca, where Frassani acknowledges a continuity of indigenous culture in the towns, plazas, markets, churches, and rural surroundings? To understand the monastery complex - and Mesoamerican cultural heritage in the wake of conquest - Frassani calls for a shifting definition of indigenous identity, one that acknowledges the ways indigenous peoples actively took part in the development of post-conquest Mesoamerican culture. Frassani relates the history of Yanhuitlan by examining the rich store of art and architecture in the town's church and convent, bolstering her account with more than 100 color and black-and-white illustrations. She presents the first two centuries of the church complex's construction works, maintenance, and decorations as the product of cultural, political, and economic negotiation between Mixtec caciques, Spanish encomenderos, and Dominican friars. The author then ties the village's present-day religious celebrations to the colonial past, and traces the cult of specific images through these celebrations' history. Cultural artifacts, Frassani demonstrates, do not need pre-Hispanic origins to be considered genuinely Mesoamerican - the processes attached to their appropriation are more meaningful than their having any pre-Hispanic past. Based on original and unpublished documents and punctuated with stunning photography, Building Yanhuitlan combines archival and ethnographic work with visual analysis to make an innovative statement regarding artistic forms and to tell the story of a remarkable community.
"Worship Space Acoustics: 3 Decades of Design is a beautiful collection of recent work. This is a comprehensive compendium that far surpasses previous publications in the field in its depth, design, and information. Worship spaces of all major U.S. religions are covered. This book should be an obligatory reference for any consultant involved in church architecture and acoustics." -Mendel Kleiner, author of Worship Space Acoustics, Acoustics: Information and Communication Series (J. Ross Publishing 2010) "All involved in their design will appreciate this presentation of recent rooms for religious worship." -Leo L. Beranek, author of Concert Halls and Opera Houses: Music, Acoustics, and Architecture (Springer-Verlag 2004) "Through descriptions, photos, drawings, and acoustical data, this book provides valuable information on existing worship spaces designed during the past thirty years. This very well-edited book, including the Editors' Preface and six excellent essays from key people involved in worship space design, provides valuable information and ideas on the aesthetic, acoustic, and liturgical design of worship spaces for a number of faiths and in several countries." -Robert Coffeen, principle at R. C. Coffeen, Consultant in Acoustics LLC, Lawrence, Kansas This book takes the reader on a wide-ranging tour through churches, synagogues, mosques, and other worship spaces designed during the past 30 years. The book begins with a series of essays on topics ranging from the soundscape of worship spaces to ecclesiastical design at the turn of the 21st Century. Perspective pieces from an architect, audio designer, music director, and worship space owner are also included. The core of the book presents the acoustical and architectural design of a wide variety of individual worship space venues. Acoustical consulting firms, architects, and worship space designers from across the world contributed their recent innovative works in the area of worship space acoustics. The contributions include detailed renderings and architectural drawings, as well as informative acoustic data graphs and evocative descriptions of the spaces. Filled with beautiful photography and fascinating modern design, this book is a must-read for anyone interested in religious architecture, acoustical design, or musical performance.
This new edition is a revised and expanded version of the book produced in 2000 to celebrate the quincentenary of King's College Chapel, Aberdeen. Since then, exciting discoveries have taken place and old ideas have been reappraised. The choir stalls and woodwork have provided a fresh seam of information about the meaning and use of the medieval chapel. Daniel MacCannell has identified new iconography in the stalls. Jane Geddes, prompted by the installation of the new organ, has investigated the original function and appearance of the great pulpitum or screen between the choir and nave and discovered the location of a magnificent lost organ loft. Mary Pryor and John Morrison have examined the great baroque biblical paintings and come up with a totally new interpretation of their iconography and function: a political warning to King Charles II. Easter Smart, the university chaplain, describes the flexible and ecumenical use of the chapel today. The revised edition appears in time to honour the quincentenary of the death of Bishop William Elphinstone, the founder of Aberdeen University, who died in 1514. This book aims to integrate his legacy to the chapel: the liturgy, music, architecture and fittings. Thanks to an unusually tolerant and conservative attitude towards religion at the university following the Reformation, the chapel has survived in a more complete medieval state than any other church in Scotland. The rich archive of university documents show how benign neglect and a fierce pride in their iconic building caused the university to maintain the structure and its furnishings even during the long centuries when it ceased to serve a religious function.
The rivalry between the brilliant seventeenth-century Italian architects Gianlorenzo Bernini and Francesco Borromini is the stuff of legend. Enormously talented and ambitious artists, they met as contemporaries in the building yards of St. Peter's in Rome, became the greatest architects of their era by designing some of the most beautiful buildings in the world, and ended their lives as bitter enemies. Engrossing and impeccably researched, full of dramatic tension and breathtaking insight, "The Genius in the Design" is the remarkable tale of how two extraordinary visionaries schemed and maneuvered to get the better of each other and, in the process, created the spectacular Roman cityscape of today.
How should we construct sacred spaces, the places where we worship? Transcending Architecture considers the mysterious, profound, and real power of designed environments to address the spiritual dimension of our humanity. By incorporating perspectives from within and without architecture, the book o ers a wide, critical, and nuanced understandin of the lived relationship between the built and the numinous worlds. Far from avoiding the charged issues of subjectivity, culture andintangibility, the book examines phenomenological, symbolic and designerly ways in which the holy gets fixed and experienced through buildings, landscapes, and urban forms, and not just in institutionally defined religious or sacred places. Acknowledging that no individual voice can exhaust the topic, Transcending Architecture brings together a stellar group of scholars and practitioners to share their insights: architect Juhani Pallasmaa and philosopher Karsten Harries, comparative religion scholar Lindsay Jones and architectural theoretician Karla Britton, sacred architecture researcher Thomas Barrie and theologian Kevin Seasoltz, landscape architect Rebecca Krinke and Faith & Form magazine editor Michael Crosbie, are among the illustrious contributors. The result is the most direct, clear, and subtle scholarly text solely focused on the transcendental dimension of architecture available. This book thus provides, on one hand, understanding, relief, and growth to an architectural discipline that usually avoids its ineffable dimension and, on the other hand, a necessary dose of detail and reality to fields such as theological aesthetics, material anthropology, or philosophical phenomenology that too often fall trapped into unproductive generalizations and over-intellectualizations.
This definitive handbook contains over 130 specially commissioned colour photographs and six maps. It will enable everyone to experience the enduring appeal of those great monuments to the great Christian tradition. Look out for more Pitkin Guides on the very best of British history, heritage and travel.
The buildings erected in the Deccan region of India belonged to a number of pre-Mughal kingdoms that reigned in the Deccan from the middle of the 14th century onwards. The monuments testify to a culture where local and imported ideas, vernacular and pan-Islamic traditions fused and re-interpreted, to create a majestic architectural heritage with exceptional buildings on the edge of the Islamic world. Many are still standing - yet outside this region of peninsular India, they remain largely unknown. General publications on Indian Islamic architecture usually devote a single chapter to the Deccan. Even specialist monographs can only cover a portion of the region, due to the sheer number of sites. While it is impossible to encompass the full breadth of the subject in a single volume, this book aims to embrace the visual diversity of the Deccan without sacrificing the rigour of academic study. Structures of historical or architectural significance are placed in their context, as the authors discuss building typologies, civic facilities and ornamental techniques, from plaster and carved stone to glazed tiles and mural painting. A chapter is dedicated to each principal Deccan site, interweaving the rise and fall of these cities with a pictorial journey through their ruins, and each building is accompanied by an overhead plan view.
The Basilica of the Sacred Heart at the University of Notre Dame contains one of the largest collections of late nineteenth-century French stained glass outside of France. The French Gothic-inspired church has forty-four large stained glass windows containing two hundred and twenty scenes. Today, more than 100,000 visitors tour the basilica each year to admire its architecture. This informative guidebook tells the unique story of the windows: the improbable creation of a glassworks by cloistered Carmelite nuns in LeMans, France, and their stained glass that so perfectly illuminated the late-nineteenth-century French Catholic spirituality of the Congregation of Holy Cross. Stories in Light describes the windows according to their location in the building, from the narthex at the entrance to the Lady Chapel behind the altar. Full-color photographs, accompanied by commentary on the historical and theological importance of the glass and the iconography of the saints, provide a detailed view of the scenes found in each window. Stories in Light is an easy-to-read book written for all who visit the basilica and for readers everywhere who want to know more about the rich history and heritage of the Basilica of the Sacred Heart's stained glass.
The American landscape is host to numerous works of religious architecture, sometimes questionable in taste and large, if not titanic, in scale. In her lively study of satire and religious architecture, Margaret Grubiak challenges how we typically view such sites by shifting the focus from believers to doubters, and from producers to consumers. Grubiak considers an array of sacred architectural constructions-from "Touchdown Jesus" at the University of Notre Dame to The Wizard of Oz Mormon temple outside Washington D.C. to the renamed "Gumby Jesus" of the Christ of the Ozarks statue in Eureka Springs, Arkansas, and how they are confronted by the doubt and dismissiveness articulated by the more skeptical of their viewers. These responses of doubt activate our religious built environment in ways unanticipated but illuminating, asking us, at times forcefully, to consider and clarify what it is we believe. Opening up new avenues of thinking about how people deal with theological questions in the vernacular, Grubiak's book shows how religious doubt is made manifest in the humorous, satirical, blasphemous, and popular culture responses to religious architecture and image in modern America.
Virtually all the masterpieces of Islamic art-the Alhambra, the Taj Mahal, and the Tahmasp Shahnama-were produced during the period from the Mongol conquests in the early thirteenth century to the advent of European colonial rule in the nineteenth. This beautiful book surveys the architecture and arts of the traditional Islamic lands during this era. Conceived as a sequel to The Art and Architecture of Islam: 650-1250, by Richard Ettinghausen and Oleg Grabar, the book follows the general format of the first volume, with chronological and regional divisions and architecture treated separately from the other arts. The authors describe over two hundred works of Islamic art of this period and also investigate broader social and economic contexts, considering such topics as function, patronage, and meaning. They discuss, for example, how the universal caliphs of the first six centuries gave way to regional rulers and how, in this new world order, Iranian forms, techniques, and motifs played a dominant role in the artistic life of most of the Muslim world; the one exception was the Maghrib, an area protected from the full brunt of the Mongol invasions, where traditional models continued to inspire artists and patrons. By the sixteenth century, say the authors, the eastern Mediterranean under the Ottomans and the area of northern India under the Mughals had become more powerful, and the Iranian models of early Ottoman and Mughal art gradually gave way to distinct regional and imperial styles. The authors conclude with a provocative essay on the varied legacies of Islamic art in Europe and the Islamic lands in the nineteenth and twentieth centuries.
Considered on of the most important religious structures of the twentieth century, the Chapel of the Rosary in Vence was regarded by Matisse himself as his great masterpiece. He dedicated four years to the creation of this convent chapel on the French Riviera, and the result is one of the most remarkable and comprehensive ensemble pieces of twentieth-century art. Every element of the chapel bears the artists touch, from the vivid Mediterranean hues of the stained glass windows to the starkly powerful murals; even the vestments and altar were designed by Matisse. This beautifully illustrated volume captures the chapel in exquisite detail, allowing an unparalleled view of this iconic and sacred space. With stunning new photography that captures the dramatic effects of the changing light in the building throughout the day, this book is the first to present the experience of being within the chapel exactly as Matisse himself envisaged it, while Marie-Therese Pulvenis de Selignys authoritative and insightful text explores the extraordinary story of the chapels creation and the challenges faced by the 77-year-old artist in realising his great vision."
A handy guide to England's most famous cathedrals and abbeys. Includes an eight-page map section showing the locations of cathedrals covered in the book. Historical background and architectural details for each of the cathedrals, accompanied by beautiful colour photographs. Includes the major sites of world famous St Paul's Cathedral and Canterbury Cathedral, home to the leader of the Church of England, and details of location, websites and opening times. * A concise guide to English cathedrals in an accessible format. * Of interest to English, local and architectural historians, visitors to England and the English themselves.
The rood was central to medieval Christianity and its visual culture: Christ's death on the cross was understood as the means by which humankind was able to gain salvation, and depictions of the cross, and Christ's death upon it, were ubiquitous. This volume brings together contributions offering a new perspective on the medieval rood - understood in its widest sense, as any kind of cross - within the context of Britain and Ireland, over a wide period of time which saw significant political and cultural change. In doing so, it crosses geographical, chronological, material, and functional boundaries which have traditionally characterised many previous discussions of the medieval rood. Acknowledging and exploring the capacity of the rood to be both universal and specific to particular locations and audiences, these contributions also tease out the ways in which roods related to one another, as well as how they related to their physical and cultural surroundings, often functioning in dialogue with other images and the wider devotional topography - both material and mental - in which they were set. The chapters consider roods in a variety of media and contexts: the monumental stone crosses of early medieval England, twelfth-century Ireland, and, spreading further afield, late medieval Galicia; the three-dimensional monumental wooden roods in English monasteries, Irish friaries, and East Anglian parish churches; roods that fit in the palm of a hand, encased in precious metals, those that were painted on walls, drawn on the pages of manuscripts, and those that appeared in visions, dreams, and gesture. PHILIPPA TURNER gained her PhD in History of Art at the University of York; JANE HAWKES is Professor of Art History at the University of York. Contributors: Sarah Cassell, Sara Carreno, Jane Hawkes, Malgorzata Krasnodebska-D'Aughton, John Munns, Kate Thomas, Philippa Turner, Maggie Williams, Lucy J. Wrapson,
Following on from 100 Buildings 100 Years and 100 Houses 100 Years, this book illustrates and describes 100 churches and chapels built in the UK since 1914, charting the development of buildings for worship. In this period concrete and steel gave a new freedom to construction, while new ideas about how congregations could participate in services changed assumptions about traditional layouts, bringing celebrants and people closer together. The century saw dynamic churches in dramatic shapes of all sizes thanks to ambitious engineering, and brilliant colour from new forms of stained glass, murals and sculpture. Architects whose work is included here range from Basil Spence and Edward Maufe, designers of major cathedrals, to the radical Gillespie, Kidd and Coia whose brutalist seminary lies abandoned near Dumbarton. The book provides biographies of major designers; articles on glass, fittings, and on the synagogues, mosques and temples that play an intrinsic and important part in worship in Britain today. Contributors include architectural historians Elain Harwood, Alan Powers and Clare Price. Beautiful photography throughout showcases the very best of British church design, whether it is the minimal symmetry of a timber-framed altar, or light streaming in through a multi-coloured stained glass panel.
In this magisterial two-volume book, Pier Luigi Tucci offers a comprehensive examination of one of the key complexes of Ancient Rome, the Temple of Peace. Based on archival research and an architectural survey, his research sheds new light on the medieval, Renaissance, and Baroque transformations of the basilica, and the later restorations of the complex. Volume 1 focuses on the foundation of the complex under Vespasian until its restoration under Septimius Severus and challenges the accepted views about the ancient building. Volume 2 begins with the remodelling of the library hall and the construction of the rotunda complex, and examines the dedication of the Christian Basilica of SS Cosmas and Damian. Of interest to scholars in a range of topics, The Temple of Peace in Rome crosses the boundaries between classics, archaeology, history of architecture, and art history, through Late Antiquity, the Middle Ages, and the early modern period.
Le Corbusiers Chapel of Notre Dame du Haut in Ronchamp, eastern France, is one of the most unique and surprising religious buildings of the twentieth century. Replacing an earlier church that had been destroyed in the Second World War, a church that itself had been built on the site of a fourth-century Christian chapel, Le Corbusier transformed an ancient pilgrimage site into a dramatic work of modern art. In this insightful and beautifully illustrated volume, Maria Antonietta Crippa and Francoise Causse explore the particular set of circumstances that led one of the last centurys most famous exponents of urbanism to create an ethereal space of worship on a remote hill in the French countryside. As well as putting the chapel into its historical context and exploring the controversies and arguments that have surrounded it, the book, part of a series which began with Matisse: The Chapel at Vence (RA Publications, 2013), features stunning new photographs that capture the genius of Le Corbusiers design.
111 Churches in London That You Shouldn't Miss takes you through the doors of 111 rarely visited churches, but which, with the help of this informative guide are now on the map! With their spires, towers, columns and capitals, vaults and arches, carvings and paintings, London churches tell us a lot about its architecture and its history. And with their beautifully carved fonts, pulpits, carvings, mosaics and decorative objects, they show you centuries of skill and labour that went into making these buildings for which the main objectives were majesty, endurance and posterity. Following the little black crosses on her mini A to Z, Londoner Emma Rose Barber takes you to a ultra-modern church made in the Brutalist style, to a church once so dark, and now so light, a bombed church, now hollowed out, containing the most romantic garden in London, to churches where you can sip coffee in the aisles and nave...
What buried secret lies beneath the stones of one of England's greatest former churches and shrines, the Benedictine Abbey of Bury St Edmunds? The search for the final resting place of King Edmund has led to this site, beneath which Francis Young argues the lost king's remains are waiting to be found. Edmund: In Search of England's Lost King explores the history of the martyred monarch of East Anglia and England's first patron saint, showing how he became a pivotal figure around whom Saxons, Danes and Normans all rallied. Young also examines Edmund's legacy in the centuries since his death at the hands of marauding Vikings in the 9th century. In doing so, this fascinating book points to the imminent rediscovery of the ruler who created England.
The ruin of St Peter's College has sat on a wooded hilltop above the village of Cardross for more than three decades. Over that time, with altars crumbling, graffiti snaking across its walls and nature reclaiming its concrete, it has gained a mythical, cult-like status among architects, preservationists and artists.St Peter's only fulfilled its original role as a seminary for 14 years, from 1966 to 1979. As its uncompromising design gave way to prolonged construction and problematic upkeep, the Catholic Church reassessed the role of seminaries, resolving to embed trainee priests not in seclusion, but in communities. Although briefly repurposed as a drug rehabilitation centre, the building was soon abandoned to decay and vandalism. Ever since, people have argued and puzzled over the future and importance of St Peter's. It has been called both Scotland's best and worst twentieth century building. In 1992, it was listed category A. One of its architects suggested the idea of 'everything being stripped away except the concrete itself - a purely romantic conception of the building as a beautiful ruin'. And now in 2016, St Peter's is renewed as a cultural space through the work of the arts organisation NVA. In this landmark book, Diane Watters looks at the history of a structure that emerged out of an innovative phase of postwar Catholic church building. She traces the story of an architectural failure which morphed into a tragic modernist myth: unappreciated architects betrayed by an unloving client, and abandoned by an uncaring society. This is a historian's account of the real story of St Peter's College: an exploration of how one of Scotland's most singular buildings became one of its most troubled - and most celebrated. With an image essay by NVA Creative Director Angus Farquhar - across 54 pages of imagery of St Peter's and the globally publicised 'Hinterland' event, Angus Farquhar recounts how his independent arts organisation came to play the key role in the renewal of the buildings.
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