- 29 January 2021
- 12:00 – 1:00 pm
- Online Event
Whilst much has been written about the development of Picturesque theory at the end of the eighteenth century, regarding both the landscape itself and prescriptions for the sitting of buildings within it, these discussions have generally been limited to two-dimensional snapshots, such as those represented in Humphry Repton’s Red Books. This paper, based upon ongoing research for a doctoral dissertation, seeks to push beyond the visual to investigate some of the physical implications and repercussions of the Picturesque ideal – the intersection between the visual two-dimensional picture-plane and the practical three-dimensional architectural response – on the design and construction of country houses at the turn of the nineteenth century.
Focusing on the work of James Wyatt (1746–1813), John Nash (1752–1835), and Sir John Soane (1753–1837), and limiting investigation to those country houses designed during the pivotal period from 1793 to 1815, the paper investigates two specific implications related to the lowering of the principal floor from piano nobile to ground level, as part of a general repositioning of the house within the landscape. First is the use of level changes within the ground floor – the inclusion of a few steps up or down in entrance halls or between rooms, as distinct from staircases between floors – considering some possible reasons for their incorporation and the purposes they served. Second, and sometimes connected to these level changes, is an increase in permeability between interior and exterior, through the use of full-length windows, loggias and attached conservatories – social/botanical spaces that were first incorporated into the design of the house during this period. Taken together, these developments furthered the evolving relationship between house and landscape and, as a result, the experience of moving through and between those spaces.
Guidelines for users attending Zoom webinars
Before the webinar
● Please download Zoom software in advance.
● Please register to attend the Research Lunch webinar through Eventbrite.
● We will share the link to the Zoom webinar with you in advance by email through Eventbrite.
● If you require closed captioning during this event, please get in touch at least two weeks before the event date.
During the event
● Paul Mellon Centre staff hosting the event will employ the appropriate security features to help ensure that events and meetings operate safely.
● There will be a waiting room feature that allows the host to control when all participants join the meeting.
● You will be automatically muted when you join the webinar and can only communicate verbally if the host unmutes you.
● The talk will last for 30–40 minutes and will be followed by a Q&A where the chair will prompt discussion.
● Use the Q&A box to ask/write your questions after the talk.
● You can also use the virtual raise hand button if you have a question/comment to make by audio.
● Use the chat box to make comments.
● If you are experiencing any technical problems, please notify Ella Fleming (events manager) or Danielle Convey (events assistant) directly using the chat box function. Alternatively you can email them via email@example.com.
● The Paul Mellon Centre will not take photographs of this event and participants are requested likewise not to do so.
● This session will not be recorded.
● Any offensive behaviour will not be tolerated and attendees can be removed from the webinar by the host.
The Paul Mellon Centre is aware of its obligations under the General Data Protection Regulations (GDPR) and is committed to processing your data securely and transparently.
For more information on Zoom’s compliance with EU GDPR see: https://zoom.us/gdpr.
Image: James Wyatt and Sir Jeffry Wyatville (architects) / John Buckler (artist), Views of Ashridge Park, Hertforshire: Perspective from the South-east, 1822, drawing. RIBA Collections SB72/3(9), [AF3(9)] / Digital image courtesy of RIBA Collections
About the speaker
Rebecca Tropp is currently finishing her PhD in History of Art at St John’s College, University of Cambridge, working under the supervision of Dr Frank Salmon. She completed her MPhil in History of Art and Architecture at Cambridge in 2015, investigating recurring spatial arrangements and patterns of movement in the country houses of John Nash. Prior to commencing postgraduate studies in the UK, she received her bachelor’s degree from Columbia University in New York, where she majored in the History and Theory of Architecture.
05 Feb 2021
Bankside, Britain, Global, Public; the Turbine Hall Series in Tate Modern
19 Feb 2021
Disorienting the Gaze: Ngozi Onwurah’s Early Films
08 Jan 2021
Rewriting the Script: Theatre Playwriting Practice and the Design of an Ecological, Sustainable Theatre
22 Jan 2021
Foto Studio Bluefields: Photography and Political Life on the Nicaraguan Caribbean