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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. - "Text updated and expanded from "Cardross Seminary : Gillespie, Kidd et Coia and the architecture of postwar Catholicism", published: Edinburgh : Royal Commission on the Ancient and Historical Monuments of Scotland, 1997.
The Messages of its Walls and Fields seeks to understand the culture of each decade of the School's development. The focus is on the boys themselves, but Katharine Thornton also evaluates the policies of succeeding Councils of Governors and the achievements of the thirteen Headmasters who have led Saints from 1847 to 2009. The curriculum story is here, the context for advocating sport, the emergence of the external activities of the co-curriculum, the values of a Saints' education, the background to each building project, the economy of the School, drama and the arts, science and new laboratories, the ambience of stone, trees and green lawn at the heart of a Saints' experience. St Peter's College graduates have made signifi cant contributions to the life of South Australia, in the professions, in social values, in politics, in sport and in the arts. The history of South Australia must include a knowledge of this School. Here it is in twenty chapters and hundreds of illustrations, not just an entertainment for a week but a reliable record for a lifetime.
The term 'Brutalism' is used to describe a form of architecture that appeared, mainly in Europe, from around 1945-75. Uncomprimisingly modern, this trend in architecture was both striking and arresting and, perhaps like no other style before or since, aroused extremes of emotion and debate. Some regarded Brutalist buildings as monstrous soulless structures of concrete, steel and glass, whereas others saw the genre as a logical progression, having its own grace and balance. In this revised second edition, Alexander Clement continues the debate of Brutalism in post-war Britain to the modern day, studying a number of key buildings and developments in the fields of civic, educational, commercial, leisure, private and ecclesiastical architecture. With new and improved illustrations, fresh case studies and profiles of the most influential architects, this new edition affords greater attention to iconic buildings and structures. Now that the age of Brutalism is a generation behind us, it is possible to view the movement with a degree of rational reappraisal, study how the style evolved and gauge its effect on Britain's urban landscape. This book will be of interest to architecture students, design students and anyone interested in post-war architecture. Fully illustrated with 160 colour and 4 black & white photographs.
What is it about ruins that are so alluring, so puzzling, that they can hold some of us in endless wonder over the half-erased story they tell? In this elegant book, Robert Harbison explores the captivating hold these remains and broken pieces—from architecture, art, and literature—have on us. Why are we, he asks, so suspicious of things that are too smooth, too continuous? What makes us feel, when we look upon a fragment, that its very incompletion has a kind of meaning in itself? Is it that our experience on earth is inherently discontinuous, or that we are simply unable to believe in anything whole? Harbison guides us through ruins and fragments, both ancient and modern, visual and textual, showing us how they are crucial to understanding our current mindset and how we arrived here. First looking at ancient fragments, he examines the ways we have recovered, restored, and exhibited them as artworks. Then he moves on to modernist architecture and the ways that it seeks a fragmentary form, examining modern projects that have been designed into existing ruins, such as the Castelvecchio in Verona, Italy and the reconstruction of the Neues Museum in Berlin. From there he explores literature and the works of T. S. Eliot, Montaigne, Coleridge, Joyce, and Sterne, and how they have used fragments as the foundation for creating new work. Likewise he examines the visual arts, from Schwitters’ collages to Ruskin’s drawings, as well as cinematic works from Sergei Eisenstein to Julien Temple, never shying from more deliberate creators of ruin, from Gordon Matta-Clark to countless graffiti artists. From ancient to modern times and across every imaginable form of art, Harbison takes a poetic look at how ruins have offered us a way of understanding history and how they have enabled us to create the new.
Was Britain's postwar rebuilding the height of mid-century chic or the concrete embodiment of crap towns? John Grindrod decided to find out how blitzed, slum-ridden and crumbling austerity Britain became, in a few short years, a space-age world of concrete, steel and glass. What he finds is a story of dazzling space-age optimism, ingenuity and helipads - so many helipads - tempered by protests, deadly collapses and scandals that shook the government.
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There is a genuine resurgence of interest in this period of architecture. Brutalism is a highly debated topic in the architectural press and amongst architectural critics and institutions who promote the preservation of these buildings. This book is unique in combining beautiful, highly illustrated design with description of both British and International brutalist buildings and architects, alongside analysis of the present and future of brutalism. Not just be a historical tome, this book discusses brutalism as a living and evolving entity.
The landscape of Scotland is full of dramatic contrasts. The high, rugged peaks of the Cairngorms look down on the rounded hills of the southern uplands. Wild moorlands run into fertile flood-plains. The coastline ranges from soft sandy beaches and crystal-clear waters to jagged cliffs battered by the fierce waves of the Atlantic.Aerial photography provides unique and striking perspectives on how the people of Scotland have lived, worked, fought over, worshipped, developed and changed this land, leaving no part untouched or unaltered by human activity. The Royal Commission on the Ancient and Historical Monuments of Scotland (RCAHMS) holds the national collection of aerial photography for Scotland with millions of images dating from the 1920s to the present day. These photographs - many of which have never been seen before by the public - tell the remarkable story of a changing nation, from stone circles, Roman remains and ruined castles, to the growth of villages, towns and cities, the rise and fall of heavy industry, the country at war and the proud engineering and architecture of the modern landscape.For the first time in one volume, RCAHMS has brought together the finest images from its collection in a stunning illustration of Scotland's past, present and future.