Domestic architecture and furnishings of the Santa Fe region, 1750-1870

"The purpose of this study is to examine the &rchitecturai details and interiors of New Mexican dwellings between 1750 and :870. It concerns mainly the Spanish Colonial Period and the beginning of the Territorial Period"

Some account of domestic architecture in England from Edward I. to Richard II. : with notices of foreign examples, and numerous illustrations of existing remains from original drawings /

Continued by the author's: Some account of domestic architecture in England from Richard II. to Henry VIII.

Rural architecture : being a complete description of farm houses, cottages, and out buildings, comprising wood houses, workshops, tool houses, carriage and wagon houses, stables, smoke and ash houses, ice houses, apiary or bee house, poultry houses, rabbitry, dovecote, piggery, barns and sheds for cattle, &c, &c., &c. : Together with lawns, pleasure grounds and parks; the flower, fruit, and vegetable garden. Also, useful and ornamental domestic animals for the country resident &c.,&c., &c. Also, the best method of conducting water into cattle yards and houses /

Mode of access: Internet.

English house design, a review : being a selection and brief analysis of some of the best achievements in English domestic architecture from the 16th to the 20th centuries, together with numerous examples of contemporary design /

Mode of access: Internet.

Domestic architecture, published for private distribution

Descriptive letterpress on verso of each plate for plate following.

The response to dryness in Australia

The drought Australia now faces is leading to shifts in the perception of the continent, of Australians and the world. The ideals of lush green landscapes are making way for landscape designs in which dryness is a quality of the design. On a map of the world, Australia is enormous, and seems empty because development is concentrated around its edges. Its heart must be red, in the cultural projections of the world from images of Uluru, 'the rock', set in a flat desert with no relief. Of course the country is not really all desert - surely? - with low shrubs pretty much throughout. Inhabitation seems to cling to the edges where teh continent feels microclimatic effects from the adjacent oceans and edging mountain ranges, which screen the population from the real state of the environment - dry, harsh, amazing and unique. Australia is rightly proud of this harsh difference from its edges, but prefers the harshness to be 'out there'. At the moment however, the country is pretty much universally in drought, and the contrast between green and brown, that it has celebrated, even built its identity around, is disappearing to become brown throughout. Without the browning of Australia, some areas, such as tropical Queensland, are having their designed public landscapes and gardens revealed as an elaborate mythology, a landscape fraud.

In pursuit of an architecture realism

The noble idea of studying seminal works to ‘see what we can learn’ has turned in the 1990s into ‘let’s see what we can take’ and in the last decade a more toxic derivative ‘what else can’t we take’. That is my observation as a student of architecture in the 1990s, and as a practitioner in the 2000s. In 2010, the sense that something is ending is clear. The next generation is rising and their gaze has shifted. The idea of classification (as a means of separation) was previously rejected by a generation of Postmodernists; the usefulness of difference declined. It’s there in the presence of plurality in the resulting architecture, a decision to mine history and seize in a willful manner. This is a process of looking back but never forward. It has been a mono-culture of absorption. The mono-culture rejected the pursuit of the realistic. It is a blanket suffocating all practice of architecture in this country from the mercantile to the intellectual. Independent reviews of Australia’s recent contributions to the Venice Architecture Biennales confirm the malaise. The next generation is beginning to reconsider classification as a means of unification. By acknowledging the characteristics of competing forces it is possible to bring them into a state of tension. Seeking a beautiful contrast is a means to a new end. In the political setting, this is described by Noel Pearson as the radical centre[1]. The concept transcends the political and in its most essential form is a cultural phenomenon. It resists the compromised position and suggests that we can look back while looking forward. The radical centre is the only demonstrated opportunity where it is possible to pursue a realistic architecture. A realistic architecture in Australia may be partially resolved by addressing our anxiety of permanence. Farrelly’s built desires[2] and Markham’s ritual demonstrations[3] are two ways into understanding the broader spectrum of permanence. But I think they are downstream of our core problem. Our problem, as architects, is that we are yet to come to terms with this place. Some call it landscape others call it country. Australian cities were laid out on what was mistaken for a blank canvas. On some occasions there was the consideration of the landscape when it presented insurmountable physical obstacles. The architecture since has continued to work on its piece of a constantly blank canvas. Even more ironic is the commercial awards programs that represent a claim within this framework but at best can only establish a dialogue within itself. This is a closed system unable to look forward. It is said that Melbourne is the most European city in the southern hemisphere but what is really being described there is the limitation of a senseless grid. After all, if Dutch landscape informs Dutch architecture why can’t the Australian landscape inform Australian architecture? To do that, we would have to acknowledge our moribund grasp of the meaning of the Australian landscape. Or more precisely what Indigenes call Country[4]. This is a complex notion and there are different ways into it. Country is experienced and understood through the senses and seared into memory. If one begins design at that starting point it is not unreasonable to think we can arrive at an end point that is a counter trajectory to where we have taken ourselves. A recent studio with Masters students confirmed this. Start by finding Country and it would be impossible to end up with a building looking like an Aboriginal man’s face. To date architecture in Australia has overwhelmingly ignored Country on the back of terra nullius. It can’t seem to get past the picturesque. Why is it so hard? The art world came to terms with this challenge, so too did the legal establishment, even the political scene headed into new waters. It would be easy to blame the budgets of commerce or the constraints of program or even the pressure of success. But that is too easy. Those factors are in fact the kind of limitations that opportunities grow out of. The past decade of economic plenty has, for the most part, smothered the idea that our capitals might enable civic settings or an architecture that is able to looks past lot line boundaries in a dignified manner. The denied opportunities of these settings to be prompted by the Country they occupy is criminal. The public realm is arrested in its development because we refuse to accept Country as a spatial condition. What we seem to be able to embrace is literal and symbolic gestures usually taking the form of a trumped up art installations. All talk – no action. To continue to leave the public realm to the stewardship of mercantile interests is like embracing derivative lending after the global financial crisis.Herein rests an argument for why we need a resourced Government Architect’s office operating not as an isolated lobbyist for business but as a steward of the public realm for both the past and the future. New South Wales is the leading model with Queensland close behind. That is not to say both do not have flaws but current calls for their cessation on the grounds of design parity poorly mask commercial self interest. In Queensland, lobbyists are heavily regulated now with an aim to ensure integrity and accountability. In essence, what I am speaking of will not be found in Reconciliation Action Plans that double as business plans, or the mining of Aboriginal culture for the next marketing gimmick, or even discussions around how to make buildings more ‘Aboriginal’. It will come from the next generation who reject the noxious mono-culture of absorption and embrace a counter trajectory to pursue an architecture of realism.

An issues paper: the roots/routes of Australian architecture: elements of an alternative architectural history

The dynamism and mobility of architects in their approach to architecturaldesign practice provides a context that emphasises that architecture, likeculture, is not static or rooted in place, but is intricately configured throughthe dual processes of locality and mobility – both physical and theoretical. Theproduction of architecture in Australia, as in other immigrant-rich societies,provides a case for reinforcing the theory that architectural mobility and travelare integral to the architecture of place.This issues paper sets out to re-examine the contribution of geo-culturalinfluences upon Australia’s architectural lineage and considers a diverse rangeof themes across an equally broad timeframe; British colonial transpositions; thedissemination of Modernism in Australia; the latent contribution of mid-twentiethcentury European émigré architects; and the secreted history of Australia’sAsian architecture. Common to all, however, is the notion of architecturaltranslation as a process of influences transmitted, transposed or adapted toother contexts. It uses Australia as the focus from which to consider how globalcriticism, ideas and theories have travelled and continue to travel transverselyacross time and place, from the late-eighteenth century well into the twenty-first.This paper investigates translations through narratives, processes, networks andtraces of architectural manifestations and begins to draw lines of influence.

Architecture moderne; ou, L'art de bien bâtir pour toutes sortes de personnes, tant pour les maisons des particuliers que pour les palais.

The text, generally attributed to Briseux, is ascribed to Gilles Tiercelet by W. Herrmann. Cf. Journal of the Society of architectural historians, vol. XVIII, pt. 2, p. 60-62.

Town planning and modern architecture at the Hampstead garden suburb;

Advertising matter: p. 99-105.

The architecture of country houses; including designs for cottages, farm-houses, and villas, with remarks on interiors, furniture, and the best modes of warming and ventilating. With three hundred and twenty illustrations.

Mode of access: Internet.