C. H. Reilly: Regency,Englishness and Modernism

C. H. Reilly (1874-1946) began his tenure of the Professorship of Architecture at Liverpool University by advocating a return to late eighteenth and early nineteenth century classicism, in defiance of the prevailing preference for non-academic Classicism and the Arts and Crafts aspiration to create a styleless architecture. Although Reilly's taste may appear conservative, it resembles in many ways the early stages of Modernism in Germany and France. After supporting American-style classical architecture in the 1920s, Reilly welcomed Modernism and was involved in the design of the Peter Jones store in London, 1936. The article looks at Reilly's developing ideas between the wars and proposes that Peter Jones was a realisation of Reilly's pre-1914 affection for the Regency, setting it in the context of British and foreign writings associating British Modernism with the Regency.     

C. H. Reilly: Regency, Englishness and Modernism

C. H. Reilly (1874-1946) began his tenure of the Professorship of Architecture at Liverpool University by advocating a return to late eighteenth and early nineteenth century classicism, in defiance of the prevailing preference for non-academic Classicism and the Arts and Crafts aspiration to create a styleless architecture. Although Reilly's taste may appear conservative, it resembles in many ways the early stages of Modernism in Germany and France. After supporting American-style classical architecture in the 1920s, Reilly welcomed Modernism and was involved in the design of the Peter Jones store in London, 1936. The article looks at Reilly's developing ideas between the wars and proposes that Peter Jones was a realisation of Reilly's pre-1914 affection for the Regency, setting it in the context of British and foreign writings associating British Modernism with the Regency.     

跨界建筑师:尤尔根·马耶尔

<正>如果不首先提及邮寄信封上那些用于保护私人内容不被窥探的交织曲线、线条、正弦曲线、符号和字符组合,客观上很难评价尤尔根?马耶尔。尤尔根?马耶尔自20世纪90年代中期起就一直在收集这些数据保护小图案,他似乎已经痴迷于这种以不同方式沉淀在其作品中的视觉(或反视觉)元素。它们代表了其作品中的主要图像材料和概念源(也包括在2012年威尼斯双年展瓦莱里奥?奥尔贾蒂(Valerio Olgiati)展台上的作品《象形文字-当代建筑师的文字》),尤尔根?马耶