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| The Palace of Westminster |
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•Date of completion/opening: 1837–67
•Architect/lead designer: Charles Barry and A. W. N. Pugin
•Principle sponsor or client: The Royal Commission
•Purpose of the building: Parliamentary use
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| The Palace of Westminster |
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The present-day Palace of Westminster is built in the perpendicular Gothic style, which was popular during the 15th century and was responsible for the Gothic revival of the 19th century.
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| The Palace of Westminster |
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| ROYAL COLLEGE OF PHSYICIANS |
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| ROYAL COLLEGE OF PHYSICIANS |
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| PETER JONES DEPARTMENT STORE |
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| PETER JONES DEPARTMENT STORE |
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| FOREIGN AND COMMONWEALTH OFFICE |
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| FORIGN AND COMMONWEALTH OFFICE |
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| FOREIGN AND COMMONWEALTH OFFICE |
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| CARRERAS CIGARETTE FACTORY |
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| CARRERAS CIGARETTE FACTORY |
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| ALL SAINTS MARGARET STREET |
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| ALL SAINTS MARGARET STEET |
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| ALL SAINTS MARGARET STEET |
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Date of completion/opening: 1850-1851
Architect/lead designer: Joseph Paxton
Principle sponsor or client: public subscription
Purpose of the building: The Great Exhibition of 1851 |
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- Victorian architecture
The geometry of the Crystal Palace was a classic example of the concept of form following function - the shape and size of the whole building was directly based around the size of the panes of glass made by the supplier
was prefabricated, assembled onsite and used large quantities of metal (iron) and glass |
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| All Saints Margaret Street |
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Date of completion/opening: 1850-1859
Architect/lead designer: William Butterfield
Principle sponsor or client: The Ecclesiological Society
Purpose of the building: Anglo- Catholic Church |
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| All Saints Margaret Street |
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-High Victorian Gothic architecture (revival)
-All Saints is built of red brick.
high quality, expensive brick
-braided with black brick
-marble and tile make inside richly patterned |
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Date of completion/opening: 1859-1861
Architect/lead designer: George Edmund Street
Principle sponsor or client: three daughters of Bishop Monk of Gloucester to construct a church in their father's memory
Purpose of the building: Church of England |
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-red bricks with an exterior embellished with black bricks, bands of Morpeth stone, voussoirs of coloured bricks and marble shafts.[6]
-steeply sloping roof is covered with slate, with a gable at one end and carried round the apse as a half-cone at the other end
- Gothic revival |
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Date of completion/opening: 1859-1860
Architect/lead designer: William Morris and Philip Webb
Principle sponsor or client: William Morris
Purpose of the building: Family Home |
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- a significant Arts and Crafts building
L-shaped plan, with two stories and a high-pitched roof made of red tile
acked any applied ornamentation, with its decorative features instead serving constructional purposes, such as the arches over the windows, and the louvre in the open roof over the staircase. |
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| Foreign and Commonwealth Office |
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Date of completion/opening: 1862-1875
Architect/lead designer: George Gilbert Scott
Principle sponsor or client: English Government
Purpose of the building: a department of the Government of the United Kingdom. |
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| Foreign and Commonwealth Office |
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- Its architecture is in the Italianate style
Scott had initially envisaged a Gothic design, but Lord Palmerston, then Prime Minister, insisted on a classical style. |
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| St Pancras Station and Midland Grand Hotel, by George Gilbert Scott (the hotel designed 1865–7, built 1868–74) |
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Date of completion/opening: the hotel designed 1865–7, built 1868–74
Architect/lead designer: George Gilbert Scott
Principle sponsor or client: Midland Railway Company
Purpose of the building: Hotel to service those coming into london |
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| St Pancras Station and Midland Grand Hotel, by George Gilbert Scott (the hotel designed 1865–7, built 1868–74) |
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Victorian architecture, the station
building is primarily brick, but polychromatic, in a style derived from the Italian gothic, and with numerous other architectural influences. |
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| St Pancras Station and Midland Grand Hotel W. H. Barlow (the railway shed designed and built 1866–8) |
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Date of completion/opening: 1866-1868
Architect/lead designer: W. H. Barlow
Principle sponsor or client: Midland Railway.
Purpose of the building: a central London railway terminus and Grade I listed building located on Euston Road |
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| Royal Courts of Justice, Westminster |
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Date of completion/opening: 1871-1882
Architect/lead designer: George Edmund Street
Principle sponsor or client: Government
Purpose of the building: houses both the High Court and Court of Appeal of England and Wales. |
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| Royal Courts of Justice, Westminster |
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the Victorian Gothic style
two elaborately carved porches fitted with iron gates |
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| St Michael and All Angels |
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Date of completion/opening: 1879-1880
Architect/lead designer: Richard Norman Shaw
Principle sponsor or client:
Purpose of the building: Anglo-Catholic church
a parish church serving the spiritual needs of residents |
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| St Michael and All Angels |
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Like the houses in Bedford Park, the church was built with bricks from local brickworks, and demonstrates Shaw's "panache in the use of the 'cocktail of styles' which characterised the Queen Anne revival" as well as "a sensitivity to the aspirations of an aesthetically minded middle class community
Perpendicular Gothic with seventeenth- and eighteenth-century domestic features
Queen Anne revival style and as Perpendicular Gothic style modified with English domestic features. |
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Date of completion/opening: 1890
Architect/lead designer: C F A Voysey
Principle sponsor or client: built for the artist J. W. Foster
Purpose of the building: residential |
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"white roughcast render and stone trim" to be an "outstanding example" of Arts and Crafts architecture
"as a protest against the bland red brick of the rest of the 'suburb'" and provoked criticism for "the old-fashioned look of the white stucco and leaded light windows" |
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Date of completion/opening: 1909-1911
Architect/lead designer: Edwin Lutyens
Principle sponsor or client: Henrietta Barnett
Purpose of the building: church in a model community where all classes of people could live together in attractive surroundings and social harmony |
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Date of completion/opening: 1920
Architect/lead designer: Edwin Lutyens
Principle sponsor or client: Prime Minister Lloyd George/ British War Cabinet
Purpose of the building: a memorial erected for a peace parade following the end of the First World War |
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| Wembley Stadium/Empire Stadium |
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Date of completion/opening: 1922-1923
Architect/lead designer: John Simpson, Maxwell Ayrton and Owen Williams
Principle sponsor or client: British Empire Exhibition Incorporated
Purpose of the building: British Empire Exhibition |
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| Carreras Cigarette Factory |
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Date of completion/opening:1926-1928
Architect/lead designer: M. E. and O.H. Collins and A. G. Piorri
Principle sponsor or client: Carreras Tobacco Company
Purpose of the building: demand for cigarettes increased during the First World War, needed new space |
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| Carreras Cigarette Factory |
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Art Deco building in Camden, London
Mainly white
distinctive Egyptian-style ornamentation originally included a solar disc to the Sun-god Ra, two gigantic effigies of black cats flanking the entrance and colourful painted details |
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Date of completion/opening: 1932
Architect/lead designer: Charles Holden
Principle sponsor or client: Great Northern Railway and Parliamentary Act
Purpose of the building: as the most northerly station on the first section of the Piccadilly line extension from Finsbury Park to Cockfosters. |
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a significant work of modern architecture.
a modern European style using brick, glass and reinforced concrete and basic geometric shapes |
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| Peter Jones Department Store |
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| - the first modern-movement use of the glass curtain wall in Britain (not, as is often claimed, the first per se, as late-Victorian examples in the gothic revival style exist) |
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| Peter Jones Department Store |
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Date of completion/opening: 1932-1936
Architect/lead designer: William Crabtree
Principle sponsor or client: John Lewis
Purpose of the building: Department store |
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Date of completion/opening: 1932-1938
Architect/lead designer: Wallis Gilbert and Partners
Principle sponsor or client: The Hoover Company
Purpose of the building: built for the vacuum company |
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Art Deco architecture
"a sort of Art Deco Wentworth Woodhouse - with whizzing window curves derived from Erich Mendelsohn's work in Germany, and splashes of primary colour from the Aztec and Mayan fashions |
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Date of completion/opening: 1935
Architect/lead designer: Owen Williams
Principle sponsor or client: George Scott Williamson and Innes Hope Pearse
Purpose of the building: The Peckham Experiment |
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initially generated by rising public concern over the health of the working class and an increasing interest in preventative social medicine
moved away from the idea of traditional lines dominating medical buildings
a glazed roof, which, along with large areas of windows, allowed natural light into the building |
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Date of completion/opening: 1935-1938
Architect/lead designer: Berthold Lubetkin
Principle sponsor or client: Borough of Finsbury
Purpose of the building: offered a wide variety of health services to the people of Finsbury and was designed to be adaptable to new requirements as healthcare priorities developed and changed |
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Reinforced concrete
wings with rough cutting system consisting of hollow tile floors supported by perimeter beams and structural mullions
partially clad with faience tiles and asbestos panels
H-shaped plan, with centre block projecting at rear; shanks splayed and their walls not parallel. |
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Date of completion/opening: 1950-1951
Architect/lead designer: Robert Matthew, Leslie Martin and Peter Moro
Principle sponsor or client: London County Council
Purpose of the building: built for the Festival of Britain |
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concert hall as the egg in a box
used modernism’s favourite material, reinforced concrete, alongside more luxurious elements including beautiful woods and Derbyshire fossilised limestone
exterior of the building was bright white, intended to contrast with the blackened city surrounding it.
Large areas of glass on its façade meant that light coursed freely throughout the interior, and at night, the glass let the light from inside flood out onto the river, |
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Date of completion/opening: 1956-1981
Architect/lead designer: Chamberlin, Powell and Bon
Principle sponsor or client: Corporation of London
Purpose of the building: high-density residential neighbourhoods could be integrated with schools, shops and restaurants |
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- brutalism: one of the modern wonders of the world
represents a utopian ideal for inner-city living
With its coarse concrete surfaces, elevated gardens and trio of high-rise towers
a complex that created a clear distinction between private, community and public domains, but that also allowed pedestrians as much priority as cars |
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Date of completion/opening:1960-1962
Architect/lead designer: Robert Matthew, Johnson-Marshall and Partners
Principle sponsor or client: funded by the UK government, with contributions of materials from Commonwealth countries
Purpose of the building: contained a permanent exhibition about the nations of the Commonwealth |
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2nd most important modernist building in london
building has a low brickwork plinth clad in blue-grey glazing.
complex hyperbolic paraboloid copper roof, made with 25 tonnes of copper
shape of the roof reflects the architects' desire to create a "tent in the park". |
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| Royal College of Physicians |
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Date of completion/opening: 1961-1964
Architect/lead designer: Denys Lasdun and Partners
Principle sponsor or client: A small group of distinguished physicians, led by the scholar and humanist Thomas Linacre, petitioned King Henry VIII
Purpose of the building: grant licenses to those qualified to practice and to punish unqualified practitioners and those engaging in malpractice
-modernist monument |
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| Southbank Centre (Hayward Gallery, Queen Elizabeth Hall and Purcell Room) |
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Date of completion/opening: 1965-1968
Architect/lead designer: GLC Architects Department
Principle sponsor or client: London County Council
Purpose of the building: part of the Festival of Britain and then an independent arts organization |
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| Southbank Centre (Hayward Gallery, Queen Elizabeth Hall and Purcell Room) |
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| - massing and extensive use of exposed concrete construction are typical of Brutalist architecture |
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Date of completion/opening:1961-1976
Architect/lead designer: Denys Lasdun and Partners
Principle sponsor or client: London County Council
Purpose of the building: A national theatre |
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- the theatre is often cited as an archetype of Brutalist architecture in England
- modernists are split on the building
- concrete both inside and out overbearing. |
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