“Style remains a principal concern of the histories of British architecture from the sixteenth century to the early nineteenth century, if not up to the present day. Architecture and style are interlinked to the point that style can almost be believed to contain the essence of architecture, but if this were the case then style would constitute the subject of architectural history. Quite clearly it does not.”

— Dana Arnold

Source: Reading Architectural History (2002), Ch. 3 : On classical ground : Histories of style

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "Style remains a principal concern of the histories of British architecture from the sixteenth century to the early nine…" by Dana Arnold?

Dana Arnold 13

Middlessex uni prof 1961

Ilona Andrews American husband-and-wife novelist duo

Source: Magic Bites

“I am interested in how we interrogate architecture in terms of its social functions and meanings. Architectural historians writing on eighteenth and early nineteenth century Britain have tended to see social history as the answer to this question. But the social history of architecture or the histories of specific social groups which operated in and around the architecture or building(s), or indeed the spaces created by them or for them, provide only a backdrop or loose historical context.”

Dana Arnold (1961) Middlessex uni prof

Source: Reading Architectural History (2002), Ch. 4 : A class performance : Social histories of architecture

“‘Architecture’ may at first appear to be a more fixed and finite term. It has a threedimensional, tangible, useable form. But questions remain about what can be considered architecture and what cannot, and by this I mean that we usually understand architecture to incorporate aesthetic as well as functional consideration into its structure. Anything that does not fall into this category can be described as ‘just a building’. This may seem too simple. Can architecture be determined solely by the use of refined architectural style – high or polite architecture instead of vernacular?”

Dana Arnold (1961) Middlessex uni prof

Source: Reading Architectural History (2002), Ch. 1 : Reading the past : What is architectural history?

“Architectural History is more than just the study of buildings. Architecture of the past and the present remains an essential emblem of a distinctive social system and set of cultural values, and as a result it has been the subject of study of a variety of disciplines.”

Dana Arnold (1961) Middlessex uni prof

Source: Reading Architectural History (2002), Ch. 1 : Reading the past : What is architectural history?

“Allowing, therefore, the great usefulness of the Government Schools, the Exhibitions, and the Museums both public and private, the question now arises as to what are the impediments to our future progress. The principal ones appear to me to be three.
# A want of a distinctive architecture, which is fatal to art generally.
# The want of a good costume, which is fatal to colour; and
# The want of a sufficient teaching of the figure, which is fatal to art in detail.
It will perhaps be as well to take these one by one.
The most fatal impediment of the three is undeniably the want of a distinctive architecture in the nineteenth century. Architecture is commonly called the mother of all the other arts, and these latter are all more or less affected by it in their details. In almost every age of the world except our own only one style of architecture has been in use, and consequently only one set of details. The designer had accordingly to master, 1. the figure, and the great principles of ornament; 2. those details of the architecture then practised which were necessary to his trade; and 3. the technical processes. Now what is the case in the present day? If we take a walk in the streets of London we may see at least half-a-dozen sorts of architecture, all with different details; and if we go to a museum we shall find specimens of the furniture, jewellery, &c., of these said different styles all beautifully classed and labelled. The student, instead of confining himself to one style as in former times, is expected to be master of all these said half-dozen, which is just as reasonable as asking him to write half-a-dozen poems in half-a-dozen languages, carefully preserving the idiomatic peculiarities of each. This we all know to be an impossibility, and the end is that our student, instead of thoroughly applying the principles of ornament to one style, is so bewildered by having the half-dozen on his hands, that he ends by knowing none of them as he ought to do. This is the case in almost every trade; and until the question of style gets gets settled, it is utterly hopeless to think about any great improvement in modern art.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 8-9; Partly cited in: Journal of the Royal Society of Arts. Vol. 99. 1951. p. 520

“Switzerland is a small, steep country, much more up and down than sideways, and is all stuck over with large brown hotels built on the cuckoo clock style of architecture.”

Ernest Hemingway (1899–1961) American author and journalist

The Toronto Star Weekly (4 March 1922)

“The principle of the Gothic architecture is infinity made imaginable. It is no doubt a sublimer effort of genius than the Greek style; but then it depends much more on execution for its effect.”

Samuel Taylor Coleridge (1772–1834) English poet, literary critic and philosopher

29 June 1833
Table Talk (1821–1834)

“Model Driven Architecture is a style of enterprise application development and integration, based on using automated tools to build system independent models and transform them into efficient implementations.”

Grady Booch (1955) American software engineer

Attributed to Grady Booch in: Tarek M. Sobh (2008) Advances in Computer and Information Sciences and Engineering. p. 457

“Except in the rare cases of great dynamic thinkers whose thoughts are as turning-points in the history of our race, it is by Style that writers gain distinction, by Style they secure their immortality.”

George Henry Lewes (1817–1878) British philosopher

The Principles of Success in Literature (1865)
Context: Except in the rare cases of great dynamic thinkers whose thoughts are as turning-points in the history of our race, it is by Style that writers gain distinction, by Style they secure their immortality. In a lower sphere many are remarked as writers although they may lay no claim to distinction as thinkers, if they have the faculty of felicitously expressing the ideas of others; and many who are really remarkable as thinkers gain but slight recognition from the public, simply because in them the faculty of expression is feeble. In proportion as the work passes from the sphere of passionless intelligence to that of impassioned intelligence, from the region of demonstration to the region of emotion, the art of Style becomes more complex, its necessity more imperious.

“A classic,' suggested Anthony, 'is a successful book that has survived the reaction of the next period or generation. Then it's safe, like a style in architecture or furniture. It's acquired a picturesque dignity to take the place of its fashion.”

F. Scott Fitzgerald book The Beautiful and Damned

Source: The Beautiful and Damned

Help us to complete the source, original and additional information

Dana Arnold 13

Related quotes

Related topics