A Without a doubt, architecture contains elements of evolution and development, rather than revolution and war. A clear example of this concept involves looking at the history of British architecture and debunking myths surrounding the topic. Despite the popular notion that the Roman escape from Britain in the fifth century marked the simple disappearance of engineering phenomena, such as Hadrian’s Wall and expertly lad-out towns, the truth is more complicated. Another myth involves the Norman Conquest of 1066. In that myth, the force is thought to bring back the Gothic cathedrals of the Middle Ages, thus sparking a rebirth in British Culture. Additionally, a large number of the Anglo-Saxon buildings were constructed from wood, resulting in hardly any proof of their elegant style and stunning undertakings. These ideas, albeit interesting, ignore the fact that Romano-British culture maintained a strong existence even after the Romans pulled out.
B Some of the most wondrous examples of British architecture came about after 1066, when the Normans landed at Pevensey and before 1485, when the Tudors entered the Early Modern period due to the death of Richard III in Bosworth. 1The fundamental idea behind medieval architecture can be best described as ‘fitness for purpose', meaning that British architecture was not only beautifully elegant but it featured perfectly functional buildings. For example, magnificent castles were ornately styled yet were fit for battle and protection. 9However, domestic architecture of the time also featured buildings with a purpose of showcasing one's affluent status in society or financial stability.
C The craftsmanship of the 16th Century featured a striking paradox in terms of the arrangement of houses and courtyards. In previous medieval times, 2houses faced inward towards one or many courtyards as a way to prevent intruders from entering. However, it was a different picture in the 16th century when 10British domestic architecture featured more elaborately decorated, outward-facing buildings, placing a higher emphasis on security and decorative exteriors. These structures usually included larger rooms, which were often detailed with glass aspects. 3The proportional exteriors, grand entrance halls, and decorative features all made quite a flashy statement regarding one's monetary aspects.
D Most architects of the 17th century followed this classic Tudor style, and some continued on to expand upon its dramatic influence. Inigo Jones (1573―1652) , perhaps, is the sole example of how an artist was able to maintain a diverse style when working with classical detail during this period. In any case, the Italian, Dutch, and French architecture styles came into prominence during the aftermath of the Civil War in the 1640s and 1650s. Circumstances related to the war and Charles II’s exile brought both nobles and gentlemen to the continent and sparked an interest in this “new” architecture. Thus, 11when Charles II was restored to the throne in 1660, the influence of European trends was noticeable in the property of royalists, rich with over-the-top, dramatic style. In away, these socio-political details and historical events coined the British Baroque style as an example of absolutist ideology, a way for conflicted citizens in the post-war era to take back their culture.
E The acceptance of budding industrial processes can be seen through 19th century architecture, especially with Joseph Poxton's Crystal Palace, which served as the dwelling place of the Great Exhibition of 1851. 4Despite the initial acceptance of industrialization, some reformers were unable to accept its dehumanizing consequences. William Morris and John Ruskin are just a few examples of reformers who sought to return “back to basics”. In fact, the 1880s gave way to a new generation of determined architects seeking to follow in Morris's footsteps. They did so by 12providing ethical construction methods that were more a lined with pre-industrial manufacturing techniques.
F These aforementioned “followers” of Morris remained even into the early 20th century when new architects were entering the scene. 5-13Despite these “establishment architects" obsessed with preserving the feel of the pre-Indutrial Revolution era, the 20th century was home to new architects, such as Gropius, who was familiarising himself with new glass techniques, and Le Corbusier, who dabbled in working with concrete frames. 11Britain, however, seemed to be stuck in the past. It is only thanks to foreign architects including Serge Chermayeff, Berthold Lubetkin, and Erno Goldfinger that various Modern Movement buildings were produced during this time. Thus, only a few British structures made in the 1920s and 1930s are noteworthy.
G Just when things seemed stagnant regarding Britain's architectural capabilities. 6-13Attlee's Labour government and the Modern Movement prompted the reconstruction phase in 1945 due to an intense demand for affordable housing that could be produced in little to no time. As such, 13-14construction focused on practicability over ornate decoration and followed along with the Modernists' use of prefabricated elements, metal frames and concrete. This view was not easily accepted by all. 7In fact, the British were generally skeptical regarding the government’s ability to create effective housing developments and schools. Nevertheless, the century-long sense of authority in architecture transitioned from private individuals to local authorities.
H Interestingly enough, the 1980s presented the Modem Movement as a scapegoat for the so-called social experiments associated with high rise buildings and housing, thus leading the way for postmodernism. Rightly so, many people wonder what could be next for British architecture. By following the post-war trend, it is clear that much remains unchanged regarding the authorities that govern architecture. Since the post-war period, corporations, local authorities, and multinational companies continue to control British architecture. However, critics and observers alike agree that the Millennium is displaying the unfortunate old age of postmodernism. 8Perhaps the appropriate answer for the future of British architecture involve some kind of post-postmodernism, if it exists.
