Сравнительная характеристика архитектуры средневиковой и современной англии

     But better was on the way, led by Richard Boyle, Lord Burlington (1694-1753), the foremost patron of the arts during the mid-18th century. More than any other person, Burlington was responsible for the popular success of Palladianism and the classical style in general in 18th century England.

     Burlington was an immensely influential amateur architect and supporter of men such as the aforementioned Colin Campbell, who was responsible for Burlington's Cheswick House, London (1725-29), and William Kent, who was responsible for the interior decoration at Burlington House. Burlington himself took a hand in the design of Cheswick House and the Assembly Rooms at York.

      Palladianism paid a great deal of attention to the alliterative or symbolic nature of architectural elements. Thus, a mock temple of Ares (the Greek god of War) was not simply a building, but might symbolize war in the English world. The relationship of that temple to other architectural elements made a statement of the builder's philosophy. Nothing was "just" a decorative element.

     Perhaps the most striking examples of the use of architectural elements to make a philosophical statement can be seen at Stowe (Buckinghamshire) and Stourhead (Wiltshire). Look appendix #25.

     The 18th century saw a huge growth in the number of ostentatious country houses such as Stowe and Stourhead. A whole new class of wealthy merchants and landed nobility vied to out do one another in the building of lavish countryside estates and gardens. It is in the design of these country house estates that Palladian principles are most evident today.

 

Regency Architecture

     The period of architecture we can loosely term Regency spans the first thirty years of the 19th century. In many respects it is a natural continuation of the Georgian style which preceded it, with several important differences which we will get to in a moment.

     Although it is, of course, impossible to generalize about popular styles, we will do it anyway. There were two major streams of architectural styles popular in the Regency period. The first, which lived on far into the Victorian period, was one of medieval revival. This is often termed Victorian Gothic, or more accurately, Gothic Revival. Look appendix #38

     This style was based on medieval architecture, in particular the Gothic churches of the late 13th and early 14th century. Architects like James Watt, emulated the Gothic tracery and other decorative elements of the Gothic period, but used more modern methods of construction and substituted cheaper materials. Thus, many Gothic Revival buildings used stucco in place of medieval stone, and braced fanciful Gothic curves with hidden iron struts.

     Later in the Victorian period a purist school of design gained popularity, based on writings by AW Putin, John Ruskin, and William Morris. These "philosophers of design" viewed the work of men like Watt with horror, and called for a more rigid adherence to medieval materials, structure, and craftsmanship. Look appendix #39.

     The second, and more popular style of Regency architecture, was classical in nature. That is, it used the philosophy and traditional designs of Greek and Roman architecture. The typical Regency upper or middle-class house was built in brick and covered in stucco or painted plaster. Fluted Greek columns, painted and carefully molded cornices and other decorative touches, were all reproduced in cheap stucco. The key words to describe the overall effect are "refined elegance".

     First a mundane definition: a terrace is a fanciful term for row housing, that is, a string of houses, each sharing a wall with the house beside it. The most characteristic Regency designs survive today in terrace housing.

     Many of the more upper class terraces, such as those designed by John Nash surrounding Regents Park in London, are entered through triumphal arches reminiscent of ancient Rome, These arches, generally in stucco, lead to grand rows of houses, with carefully balanced pediments fronted by massive pilaster columns. The best remaining terraces built in this grand style are in London, Cheltenham, and Brighton.

     Windows are tall and thin, with very small glazing bars separating the panes of glass. Balconies are of extremely fine ironwork, made of such delicate curves as to seem almost too frail to support the structure. Proportions are kept simple, relying on clean, classical lines for effect rather than decorative touches. Look appendix #41.

 

New World, New Architectures

The Barrier on the Thames.

     The huge designs covered with steel established across Thames in the London area Woolwich, in case of need within several hours can be involved for protection of city against a tidal wave. In sparkling constructions similar to sails there are smart systems. These systems are capable to protect city from destruction at flooding, which can result in uncountable victims among the population. To realize such danger helped in 1953 the tidal wave caused by storm which became the reason of destruction of thousand people in Netherlands and more than 300 person at east coast of England.

However within twenty more years it was not undertaken any practical steps for the decision of a problem. Only after translation of docks from London to Tilburg in the beginning 1970th the idea of construction of a protective barrier seriously began to be considered. Thus it was necessary to keep an opportunity of passage of large courts on Thames. The output was found: erection of the largest in the world of an elevating protective barrier. Construction has occupied 8 years and was finished in 1982; the created system became effective protection for London, not interfering to movement of the river courts daily plugging a smooth surface of Thames.

     The barrier consists of ten gate on nine concrete support stretched between coast of the river on 522 m. Two external sluices on edges - for stopping water, and all other passes are navigable. Two of them in width of 31 m, are intended for the passing of small courts, and four central have width of 61 m, same, as well as at the bridge the Tower-bridge. A gate usually is not visible and is in special deepening at the bottom of the river. Their specifications allow resisting to power of the elements: at weight 1500т they are capable to sustain pressure in 9000т; each of them strengthen on a steel disk which, in turn, is connected to the massive balance weight, providing smooth movement.

     The order on closing sluices is usually given 4 hours prior to prospective arrival of a tidal wave. There is a slow rise of a barrier, since external sections; gradually in the middle of the river there is a wall from steel. The barrier can be completely involved within 9 minutes, however process of closing of a gate is intentionally made gradual to avoid the "reflected" wave upstream the river.

 

     

     The London Bridge-Tower.

     To Olympic Games of 2012 In London a number of new interesting buildings will appear. Brightest of them the London Bridge-Tower which end of construction is planned on 2010 year becomes.

     This construction reaching 310 m height becomes the highest building in Europe and, probably, the main sight of London. Popularity to a building should bring not only its unknown height, but also refined - original innovative design.

     Designed by the Italian architect Rentso Piano, directed in the sky, a tower - spike it will be covered «super white» with glass which color begins to vary depending on natural illumination so in solar weather the construction will look as the brightest ray of light, and in cloudy - to seem almost invisible.

     From close distance the design piercing the sky will seem to higher, and multilayered glass facades will be covered with a complex geometrical pattern; such refinement of furnish - a rarity for modern skyscrapers. Above the seventieth floor, trellised adaptations in the form of a sail will direct streams of air to space between layers of a glass, providing natural ventilation, becoming original air transfers.

     Tendency up.

     As against other London skyscrapers, the new tower becomes multipurpose and will be open round the clock. The highest building of Europe will be located at station the London-Bridge, one from the most brisk transport units in the city.

     The entrance covered with a canopy in the Bridge-Tower is supposed to be created on the new square. At first three levels will be the largest shops, on the following 26 floors - offices, and on 18 floors above them - magnificent hotel and the improving centre will settle down. The uppermost floors will be given under apartments; probably, some apartments will occupy a floor entirely.

     On all building zones of public assignment "will be scattered". In middle of a tower, between office floors and hotel, the three-level entertaining cent with restaurants, bars, showroom and even, probably, a chapel will settle down. But main "highlight" of a construction becomes the top gallery, the panoramic kind on city and its vicinities a circle of 50 km whence opens. Towering above the station passing thousand of passengers per day, this building with high-speed lifts will symbolize tendency of London in a new direction - up.

 

     

     Sent-Mary X, 30.

     The high-altitude London.

     After end in 1980 construction of skyscraper Nat-West-Tower in height of 183 m which now name the Tower-42, within almost 20 years in London were not erected new high-altitude buildings. Lord Foster has developed the civil-engineering design of a 90-storeyed Tower of Millennium on Sent-Mary X, but this project was rejected. If the project was accepted, the Tower of Millennium would become the highest building in Europe. This site of the ground was sold to international insurance company Suiis Re; on it less scale were realized project Foster’s - "Gherkin".

     In 2003 in a panorama of London the new building to the address of Sent-Mary X, 30, completely unlike other skyscrapers of city has appeared. It almost at once has received a nickname "Gherkin" in spite of the fact that only is vaguely similar under the form pickled cucumber; it - a non-polluting building. The author of the project the known architect lord Foster has named his fur-tree «big shot».

     The forty-storied building has not only the strongly pronounced innovative facade, but also occupies a minimum of city territory.

     Its diameter at the basis - only 50 m, in the widest median part at a level of 16-th floor - 56 m, and the top part again is narrowed as a cone. In result the trellised design reminding a loose of huge brilliants inside which horizontal steel rings serve as a support for floors has appeared and are precisely looked through triangular glass panels.

     However complexity of geometry of a building is not exhausted by it. One of each three rhombuses is covered with dark glass, forming diagonal lines, on a spiral leaving upwards; it seems that the building is twirled about the axis. Actually more dark glass covers multi-storey atriums, buildings rotating around of "nucleus", providing access light and air, and also, a unique kind from balconies of each floor. Despite of apparent "twisted" the form of a building, the unique actually bent element in it - a lens on a roof. The fascinating kind on city and on a St. Paul cathedral from here opens. In the top, glazed part of a building there is a most "high-altitude" bar in London, serving only those who work in this building, and their visitors.

     Ventilation natural.

     The building consumes on 30 % less energy, than equal usual to it office structure. The saver of energy occurs for the account forms of the tower, allowing to lower use of artificial illumination and air-conditioning. Leaving with a spiral upwards atriums provide penetration into a building of a sunlight and inflow of fresh air due to natural convection on diagonal rising levels. Windows of a building are opened, providing natural ventilation.

 

      Conclusion.

 

     

     Bibliography.

 

     

     Appendix 

     

1. Anglo-Saxon church tower:

 
 
 
 
     

2. A common Saxon window scheme: 

       
 

     

3. Norman and Saxon stonework:

 
 
 
 
     

4. A Saxon Cross:

 
 
 
 
     

5. A typical small Saxon house:

 
 
 
     

6. Early English church elevations. Note the flying buttresses on the right

 
 
 

 

7. A Norman pier:

 
 
 
 
     

8. Cross-section of a Romanesque pier showing hollow interior:

       
 
 

     

9. A simple barrel vault:

       

     

10. Chapel of St. John at the Tower of London - a good example of early Romanesque style:  

 
 
 
 
     

11. A late Gothic chantry chapel at Winchester Cathedral:

       
 
 
 

     

12. A Gothic Revival church:

 
 
 
 
     

13. Gothic Revival cottage:

       
 

 

14. Gothic Revival window:

       
 
 

     

15. Westminster Palace:

       
 
 

     

16. Typical half-timbered Tudor house:

       
 
 
 

     

17. Tudor Chimney:

 
 
 
 
     

18. A simple Tudor window and molding:

       
 
 
 

     

19. Linen fold paneling:

       
 
 

 

20. Elizabethan manor:

       
 
 

     

21. Elizabethan E-plan:

       
 
 

     

22. Elizabethan "classical" chimney:

 
 
 
 
     

23. Typical half-timbered Elizabethan house:

       
 
 
 
 

     

24. Elizabethan strap work:

 
 
 
 
     

25. A Palladian door:

       
 
 
 

 

26. Palladian bridge at Stowe Landscape Garden

       
 
 
 

     

27. The conservatory at Robert Adam's Syon House