Contemporary picturesque

The Research Question The case study of Bakewell embodies one of the most common paradox of contemporary cities: the wish to conserve past architecture and the increasing need of new buildings. Dismissed sites, from the recent industrial past, are demolished or modernized. Do these buildings have any value?

Can an industry be picturesque?

And if so, how is picturesque connected to contemporary architecture?

The Research Question The case study of Bakewell embodies one of the most common paradox of contemporary cities: the wish to conserve past architecture and the increasing need of new buildings. Dismissed sites, from the recent industrial past, are demolished or modernized. Do these buildings have any value?

Can an industry be picturesque?

And if so, how is picturesque connected to contemporary architecture?

1

TABLE OF CONTENTS CH 1. RESEARCH PROPOSAL ........................................................................................................................... 3 1.1 Introducing Bakewell .............................................................................................................................. 3 1.2 Picturesque as contemporary question ............................................................................................... 7 1.3 A protected Landscape .......................................................................................................................... 8

CH.2 LITERATURE REVIEW.............................................................................................................................. 14 2.1 Genesis of picturesque ......................................................................................................................... 14 2.2 Unfolding Perspectives, the picturesque in modern architecture .................................................. 21 2.3 Post-industrial picturesque.................................................................................................................. 29 2. 4 Conclusion ............................................................................................................................................ 29

LIST OF FIGURE ................................................................................................................................................ 31

BIBLIOGRAPHY ................................................................................................................................................ 34

2

CH 1. RESEARCH PROPOSAL 1.1 Introducing Bakewell

Bakewell is a small town in the Peak District, founded in 920 and mostly rebuilt in the 19th century.

Up to the present, it is

considered a city which attracts tourist both for being the main city inside Peak District’s protected landscape and for its historical culture. Riverside Business Park (fig. 3, 4) is a small commercial establishment alongside the River Wye, which crosses the city centre, and it is only half a mile away from Bakewell’s Town Hall even though this area could be considered as a residential outskirt of city. It has its nucleus in Lumford Mill,

the oldest building of the complex established in 1777. This was originally for cotton’s manufacturing, but unfortunately the original building was burnt down in 1890 and then rebuilt. Over the past two centuries, the site has been altered. Machine and technology were updated, more buildings were added and the original function as cotton manufacturing was changed. Despite this and the late 19 th century rebuilt, typical features of both the rural Peak District architecture and Victorian’s industry were preserved. Furthermore, some of the original worker’s cottage are still inhabited.

(fig.1): Scaduto M. (2017) Preliminary studies on Bakewell.

3

4

5

6

The aims of this paper are twofold: firstly, to investigate the notion of

1.2 Picturesque as contemporary question

picturesque to understand why we should take an interest in it, since contemporary cities are developing in a way that could seem so far from this concept. Secondly this paper will also report the results to the case study of Lumford Mill. Before proceeding to examine Bakewell, it is important to explain why the research about picturesque could be extremely important in the development of a contemporary city. The act

of project itself usually requires designers to form an unstated judgment about what they consider either interesting, fascinating or beautiful. As result a building should open toward the designer’s chosen view while it should be closed in those views thought to be unpleasant or insignificant. To understand the reasons behind this kind of choice, we should investigate the history of beauty. It should be noted that more problematic questions may arise regarding the relationship between man and nature, in addition to the variable of architecture. Nevertheless, this paper will focus only on how the changing of landscape over the past two centuries has influenced the perception of view in architecture. This can lead the romantic concept of picturesque as anything “capable of being illustrating in a paint� (Gilpin W. 1794:3) becoming, up to the present, anything which deserves to be shown through a window.

7

Regarding Bakewell, there is a substantial variable to consider: the Peak

1.3 A protected Landscape

District is a protected landscape. This means that both its architecture and landscape have features commonly recognized as valuable; it is possible to think of those features as necessary to keep the identity and the image of this place. The Design Guide of the Peak District (Peak District National Park Authority, 2007) defines the main characteristic of this area and which role modern architecture should play in its

desirable development. The guide describes the key factors of Peak District’s appearance: the variety of its natural landscape, the climate and the difference between Dark Peak (fig. 7) and White Peak (fig. 8) areas as well. These factors led to the development of a specific architectural types of building mainly made of stone, generally horizontally shaped and almost closed on their north elevation (fig. 9). This interpretation of typical features is significant to new architecture, since its final purpose is to achieve “a design solution which reflects or reinterprets the local tradition and is also a product of our time.� (ibid: 16).

However, this guide does not fully explain how to relate with historical industrial areas or non-residential buildings. This may be because either this kind of building are not common in the Peak District or they are not considered as a real part of the protected landscape. A more comprehensive design guide could 8

include research about a wider range of architectural types, in order to understand differences and similarities between different types of building. These can be extremely useful in the design process of any city because it would help to understand the true nature of a place and how this can be reinterpreted to become an active part of the city rather than a marginal area.

(fig.9) Studies on typical features, M. Scaduto, 2017

On the question of the future development, the Bakewell’s Neighbourhood Plan (Bakewell Partnership Neighbourhood Plan Working Group, 2016) has clearly defined the aims to achieve in the coming years.

This is an extract from the chapter “Our Vision for Bakewell 2030” (ibid 4): The landscape and townscape of the parish are conserved and enhanced. Natural and cultural heritage assets are conserved and enhanced. Environmental resilience (sustainability) is achieved in new developments and improved in existing development. A varied and lively town centre with shops and services meeting residents’ and visitors ‘needs together with a vibrant business environment with a range of businesses offering job opportunities for local people.

9

The wish to conserve both the existing historical image and cultural identity of the city is repeatedly suggested throughout the plan. On the other hand, the city must deal with the needs of a contemporary life standard, such as the business development, to offer new job opportunities. In the same paper, the Riverside Business Park is known to be the largest employment land in the Peak District and its role in the future is defined. The main objective is to re-generate the Riverside Business Park. The Neighbourhood Plan (ibid:21) states: There are a number of older structures in a mixed state of repair but substantially still in use, and a small area of demolished buildings of approximately 1ha. Approximately 2ha of the site is occupied by buildings which require modernization. One building is Listed and others are Scheduled Ancient Monuments. The derelict part of the site could provide a maximum of 1ha of industrial land, although given the complexities of developing the site, this is likely to be lower.

This approach can provide an answer to the question of this paper. The Lumford Mill and the other historical buildings are safe; these are recognized as former part of Peak District’s identity and may deserve to be shown through a window. This interpretation can be different for the “buildings which require modernization” (ibid). The plan does not give further explanation about how they will specifically deal with this case. However, one question that needs to be asked is if the act of modernization entails destroying the actual image of a place in order to create another one. It is necessary to answer this because modernization may be a process which can be carried out to maintain the identity of that place.

In this case, it will be recognized that even non-historical buildings are part of Peak District’s identity and that this site shows its picturesqueness as a whole.

In addition, especially for Bakewell, the relationship between how industrial architecture can interact with tourism could have a great influence on the future growth of this area. This analysis may be developed in further studies through surveys directed at both inhabitants and tourists. The questionnaire would be even more useful if it asked participants about how they can imagine the Riverside Business Park in a reasonable lapse of time, for example 20 years. Indeed, regardless of the answer, this question would allow for an understanding of the agreement with the Neighbourhood Plan. It is possible that people think of the park as either an ordinary part of the city which can be altered, or as an historic place to be preserved. In this section, it has been explained that the case study of Bakewell exemplifies one of the most common cases in contemporary cities. Most of the areas of a city are formed by several architectural types overlapping and creating the identity of the city itself.

10

11

12

13

CH.2 LITERATURE REVIEW

The term picturesque comes from the Italian pittoresco, “in a

2.1 Genesis of picturesque:

England between 1730 – 1883; it became commonly used

an excursus between history, philosophy, architecture and arts

between 18th and 19th century in several fields, from arts, to

manner of a painter” and historically, has been used to describe a certain type of natural beauty inherent to landscape paintings of

gardening, philosophy and architecture with slightly different meanings. As an example, it could be useful to compare different definitions from architecture vocabulary of that time: the first is

from Nicholson’s Architectural Dictionary (1819:515), while the second from Stuart’s Dictionary of Architecture (1830: II,16): PICTURESQUE BEAUTY, according to a late elegant writer, refers to “such beautiful objects as are suited to the pencil”. This epithet is chiefly applied to the works of nature, though it will often apply to works of art also. Those objects are most properly denominated picturesque, which are disposed by the hand of nature with a mixture of varied rudeness, simplicity and grandeur. A plain neat garden with little variation in its plan, and no striking grandeur in its position, displays too much of art, design, and uniformity, to be called picturesque.

PICTURESQUE, “It is said of every object in general, which produces, or can produce, by a striking singularity, a fine effect in a picture” (Millin). Perhaps the most correct definition that can be given of the picturesque in architecture would be, the agreement of the style of a building, with the situation in which it is placed. A cottage may be extremely picturesque; but a cottage by the side of a palace would have as ridiculous an effect, as a fine smooth building in a rustic situation.

Both Nicholson and Stuart agree with striking features the object must show to be called picturesque; the subject seems to be the contrast between elements in the same view. But this interpretation is different for architectural picturesque mentioned by Stuart in which the picturesqueness is given by “agreement of the style” (Stuart, 1830: II,16). At first sight this could seem nonsensical and perhaps, by shared sense, it is true that a striking singularity in architecture does not produce an effect as “fine” (ibid) as in a natural context. Despite of this, the reason why context or style should be “in agreement” (ibid) when producing a pleasant image in architecture should be investigated. The following part of this paper moves on to describe the context in which the picturesque was borne and its change from arts to architecture.

From 1793 Britain was at war with revolutionary France and until its end, in 1815, this event dominated the political and social setting in which the theory of picturesque developed. This period was 14

characterized by rioting in response to rapid price increase due to war and trade collapse; especially in 1795. One year after the masterpiece on picturesque theory, Price’s Essay on the Picturesque (1794), was published, the countryside was involved in an enclosure process which made rural workers dependent on waged labour. This limited independence and rebelliousness since the government saw the civil unrest as an attempted revolution and feared for population inviting a French invasion. Price himself in 1797 published a pamphlet which invited property owners to form a militia to oppose French invaders and rioters; the main theorist of picturesque, and subsequent theorists, were in opposition to the inhabitants of the same landscape of which he had written. As a result, landscape gardening developed as a new art but was carried on by land owners in the same way as agricultural improvement. This led academic as Macarthur (2007) to a contemporary interpretation of picturesque as a new way of representation that embodies the spirits of agricultural reform; in this period the nostalgic feeling is a political way to mark traditional rural practise as obsolete. Macarthur points out the ambiguity of these events. In this century politics, landscape and architecture became so strictly connected that many architects mentioned in their writings agricultural improvement to explain new building or urban typology. In the same way, many agricultural writers often described the new building’s typology when they proposed to land owners to build rural housing for workers in the view of using it as disciplinary tools to guarantee loyalty. However, architectural literature is not clear enough about this kind of relationship, and this is the reason why to investigate picturesqueness it is necessary to look also at arts and philosophy fields.

(fig.17): Macarthur J. (2007) Diagram of Uvedale Prices’ theory described in his Essays,1810

15

16

As regards philosophy, the new art of gardening raised several issues concerning the relation of art and nature or nature, architecture and man as well. On the other hand, the trend of merging scenic natural pattern with geometric design followed question about the aesthetics and the perception of beauty.

Before the eighteenth century all the theories of beauty were based on concordance, harmony and proportion. Starting from Vitruvian Triad – firmitas, utilitas, vetustas – to Leon Battista Alberti, which defined beauty as a harmony that can be mathematically described as result of science of proportions (fig. 18). However, in the middle of 18th century, after the neologism aesthetic was created by German philosopher A. G. Baumgarten (1714-62), definition of both natural and architectural beauty has changed.

Aesthetical means perceived by the sense, which comes from the Greek αἴσϑησις, aesthesis: perception, capacity of perceive or feeling. In this context, is more related to the experience of seeing something we think is beauty rather than beauty itself. In this view, beauty is no more a matter of scientific harmony but it is linked to several individual and intrinsic factors as such as political views, morality or past experience. This concept was theorized at the end of the century by philosopher I. Kant in his Critique of Judgment (1790) in which he clearly separated determinative judgments from reflective judgments. The formers are judgments coming from scientific knowledge and common fundamentals; or rather, all the case in which a person can resort to his knowledge to draw a conclusion or a decision without adding any personal opinion to it (analysing an empirical data and report it to an universal case through our knowledge). The latter are the judgments which are expression of a personal view, these are the basis of aesthetical judgment itself since give us possibility to analyse a data and express a specific opinion on it.

This it is the first problem about aesthetic judgments: they are personal. The aesthetic of picturesque was the first to suggest that the perception of beauty is subjective. However, Kant points out that even if an aesthetic judgment is given on illogical and feeling bases, exists a kind of common sense that make all of these judgments “subjectively universal” so that the feeling of beauty can be shared and understood by many people. This can explain why the increasing spread of picturesque in this century, at first to describe aesthetical views of nature, is linked to a taste or “agreement in style” (Stuart, 1830: II,16) as a common idea of beauty even if this idea does not match anymore the criteria of its classical meaning.

Having defined what is meant by picturesque, this chapter has provided a background to understand in which context this idea has been developed. However, even during these two centuries, the image of the city was subject to sudden changes Indeed, due the Industrial Revolution the way of living was strongly modified and the same was true for the landscape. In the century after the landscape painters, several artists, philosophers, writers and intellectuals of that time had to deal with this shift. In his Contrast (1836), Augustus Pugin (1812 – 1852), an English architect, artist and critic, provides different illustrations comparing the architecture of 15th and 18th century, to demonstrate that the decay of taste corresponded with the industrial revolution. In the figure 19 is showed the same town, first in 1840 and then in 1440. The image of the medieval catholic town is different from 17

(fig. 19): Pugin, A. (1841) The same town in 1840 and 1440

18

the modern city in a number of important ways. What Pugin wanted to point out here is how the moral degeneration, caused by the industrial revolution, has led to the decay of taste which can be seen in the architecture of new city. The smoking chimneys in the background form the skyline of the modern city and the jail in the middle of the drawing is the embody of corruption and degeneration. This interpretation of cities as images of moral degeneration is a common view shared by other personality of the same period such as John Ruskin (1819 – 1900). Ruskin was the leader of English art critic of Victorian Era and artist himself. He wrote an exceptional amount of papers, essays, articles and book during his life; but, moreover, he propagated the picturesque as key concept to govern both moral and aesthetic and was able to bring the matter to the center of the debate on art and architecture of that period.

Furthermore, Ruskin pointed the importance of Samuel Prout (British painter, 1783 – 1852) as the artist who extended the picturesque to urban scenes. In an anonymous essay on the Art Journal (12:313), he states: There is not a landscape of recent times in which the treatment of the architectural features has not been affected, however unconsciously, by principles which were first developed by Prout. Of those principles the most original were his familiarisation of the sentiment, while he elevated the subject, of the picturesque. That character had been sought, before his time, either in solitude or in rusticity; it was supposed to belong only to the savageness of the desert or the simplicity of the hamlet; it lurked beneath the brows of rocks and the eaves of cottages; to seek it in a city would have been deemed an extravagance, to raise it to the height of a cathedral, an heresy.

This is extremely important as a turning point for the meaning and the object of picturesque, which finally extended its range not only to the city but even to its modern appearance. The picturesque can be seek in every place, is no more a matter of magnificent nature or landscape interpreted as natural element that form a view. At the end of 18th century, finally the modern city could be considered picturesque, even though at this point is not clear what kind of feeling the word carried. It is now necessary moving on to consider the value of picturesque and its role in the contemporary city. The aim of the following chapter is to discuss how this idea has survived until the present time.

19

20

2.2 Unfolding Perspectives, the picturesque in modern architecture

The contemporary definition of picturesque has acquired a completely different meaning. Now it involves a kind of negative meaning, which it is also related to a naïve taste and exaggeration. The following definition of picturesque is from the dictionary The Oxford Companion to Architecture (Patrick Goode et al.,2009:716)

PICTURESQUE […] The picturesque was based on ideas of variety and contrast, as opposed to the uniformity of mood required for these classical aesthetic modes (…). By extension, it encompassed historical styles of architecture, vernacular and regional building traditions, illusion and theatrical exaggeration.

This definition, however, differs from the interpretation of Macarthur (2007) who argues that the “picturesque concept is so endemic and diffuse that everyone knows quite a lot about it, whether they realize this or not “ (Macarthur 2007:3). With this statement he begins his discussion about the present feeling of picturesque. He observes a continuity in referring to picturesque in modernism. Even though “much of the uptake of picturesque ideas in modern culture has been forgotten” (Macarthur, 2007: 17), architects still use this concept and need its technique. Plan for point of view and visual experience, entail using the same asymmetrical based planning technique of late 18th century. This means that although this word is strictly connected to the specific context of English taste and art, the sense of picturesqueness has been transferred to the empiric field, in which it has already modified the perception of beauty and the visual experience as well.

Macarthur, the, moves on to consider as example of picturesque heritage the painting gallery of Maison La Roche (Paris, 1925) by Le Corbusier. This building was committed to the architect by Raoul La Roche, collector of avant – gard art, who wanted, as he says in one of his letter to Le Corbusier, a “frame” for his collection. The key point about this project is the gallery (fig. 22 - 25). The two had a discussion about how to arrange the paintings in it since Le Corbusier wanted to have surface with only painting and other completely empty “to create a double effect of pure architecture on the one hand, and pure paintings on the other” (Le Corbusier, letter to Ozefants 16th April 1925). The pure effect Le Corbusier talks about, is so close to the aim of landscape painters. Indeed, he was a painter himself and he well-known both pictorial and architectural perspective. What he is trying to achieve in the gallery is an effect of continuously unfolding perspective; every step the user takes in the gallery is sequence of paint, or better, a frame from a movie. The way in which every frame has to be pleasant in its whole, can be considered as a further development of picturesque in architecture. The still perspective of the paintings has been replaced with a kinetic concept of view, but the idea of beauty and contrast seems to be laying in the 18th 21

century meaning picturesque. The case of Maison La Roche is about interior design, but the cinematic relationship of modern architecture with view and perspective is related to landscape design as well.

Thus far, many architects have investigated the way we live now through their project trying to understand if this is compatible to the surrounding landscape and its natural picturesqueness. Due to this, both modern and contemporary architecture become aware of their multiples connections with their surroundings. In the figures, there are examples of how architects from different times and with different backgrounds answered similarly the question about involvement in the natural environment. The former, is Casa Malaparte (1937) by Adalberto Libera, a private villa on Punta Massullo on the eastern side of the Isle of Capri in Italy, and the latter, is MuseÊ de Valmy (2015) by Pierre Luis Faloci, a commemorative museum of Battle of Valmy, on north-east of France. Even although purpose and dimension are different, the most important feature of both building share is the use of windows as a frame to show a specific part of landscape (fig. 26, 27). This is one of the most common strategies of contemporary architecture and maybe, is not so far from the action a painter makes when choose what to draw. These two buildings become a part of landscape in their own way, but what they have in common is the aim of making connections between inside and outside; becoming a continuum with architecture (fig. 28). To make this possible, the former is placed on the top of the reef and naturally becomes part of the skyline. The latter dug into the landscape and thus merge into it. These examples show how much modern architecture wishes to establish a relationship with the surrounding nature and landscape. This is because now architects have become more conscious of city and landscape’s transient nature and this results in a new way of seeing spaces and buildings that were regarded as a side effect of the development of contemporary cities, such as industrial sites. In summary, in this paragraph has been suggested that the picturesque has left a visible mark on the current idea of beauty. Indeed, the concerns about spatiality, viewpoints and their experimentation are still the same of late 18th century. Despite this, it is also true that the word picturesque is not part of the common language anymore and that the debate about this is topic is almost non-existent. However, even though the references to romantic concept of nature disappeared, it is necessary to investigate more the picturesque to uncover and refresh all those dynamics of view and perception that are subconsciously used at the present day.

22

Edited

23

24

25

26

27

t

28

As discussed in the previous chapters, the current heritage of

2.3 Post-industrial picturesque

picturesque can be summarized in two key factors. The first is the suggestion of beauty as subjective judgment, the latter is the changed way of perceive and experiment both nature and architecture. This is extremely relevant for the contemporary cities. These are made for the most of industry or several types of public facilities, which usually are as far as possible from the beauty of city centre. Therefore, these areas

became merely a space, undesired but necessary, rather than places to experience. Despite this, it is probable that most of the people have to go through these spaces every day since they need both work and amenities. Due to this it has been commonly assumed that nobody use this kind of space to take a walk or any leisure purpose, but recently a new way to experience the industrial landscape and ruins drew attention to their possible use in the future. A. J. Fassi in his article Industrial Ruins, Urban Exploring and the Postindustrial Picturesque (2010) explain the concept of post-industrial picturesque. The New Centennial Review. Volume 10. Number 1. pp. 141-152. Fassi provides information on the Urban Explorers: people who document on the internet the “ruins—the ugly, overlooked spaces that history threatens to forget� (ibid). The Urban Explorers consider industrial ruin as picturesque since these are expressions of both aesthetical and historical reality that are rapidly disappearing due to the expansion of modern cities. The main weakness of this interpretation is that it generates a paradox of encouraging the experience of the ruins as artistic object, while the city, by its nature as living system, needs to evolve.

However, the case reported by Fassi (ibid) demonstrate that some people consider industrial area as constituting part of the city. The appearance of modern city is made of layer from different times.

Therefore, the traces of recent industrial history are necessary to understand how the city will develop in the future. At the same time, these are expressions of unique characteristics of that city before the era of globalization, which caused a general homogenization, especially in the architectural field.

2. 4 Conclusion: Please, open the window

As explained earlier, the case of Riverside Business Park is extremely interesting because of its context. Indeed, the duality of its nature, as protected landscape and as industrial site, constitutes one of the strongest features of this site. This duality is the reason that led to the question pointed out in the introduction of this paper on the picturesqueness of the Business Park. Even if it not possible to draw a

definitive conclusion, the previous chapters have demonstrated that people experience this living place in different ways (as workers, tourists or inhabitants). On the other hand, now it is also clear that the picturesque has changed the perception of beauty and visual experience. This means that the appearance 29

of a contemporary city is a blend of several images from different times, and its beauty cannot properly define its value. However, to address the issue of the image of the contemporary city further studies are required. Thus, this paper has shown that the Business Park it will be necessary in future analysis of Bakewell’s appearance, even though probably it will need to be modernized to keep being a living space.

However, it will deserve to be shown through a window as long as it will be proof of Bakewell history and expression of its peculiar characteristics.

30

LIST OF FIGURE Figure 1.

Scaduto M. (2017) Preliminary studies on Bakewell. [sketch on paper] Figure 2.

Scaduto M. (2017) Bakewell area boundary and Site location. [PDF] Figure 3.

Scaduto M. (2017) Riverside Business Park plan. [PDF] Figure 4.

Scaduto M. (2017) Sketched sections. [sketch on paper] Figure 5.

Gilpin, W. (1808). A view in the vale of Lanercost, near the entrance. [Pen and wash]. In vol. VI of manuscript of the Tour of the Lakes. W.L.Benson, Esq. In William Gilpin: his drawings, teaching and theory of the picturesque.

Figure 6.

Gilpin, W. (1775). Sketch No 6 of Glastonbury Abbey, [Pen and wash]. Formerly part of a notebook of the Western Tour. In William Gilpin: his drawings, teaching and theory of the picturesque.

Figure 7.

Unknown, (2006). Holmfirth. [image] Available at: http://www.freefoto.com/preview/1051-09-57/Holmfirth--West-Yorkshire [Accessed 3 Apr. 2017].

Figure 8.

Neil (Coffeeholic8), (2012). Bakewell. [image] Available at: http://farm9.staticflickr.com/8326/8086381811_8ca6c34647_o.jpg 2017].

Figure 9.

Scaduto, M. (2017). Studies on typical features. [Sketch on paper] Figure 10.

Scaduto, M. (2017). The Business Park from Buxton Rd. [picture].

Figure 11.

Scaduto, M. (2017). South-East elevation on the River Wye. [picture].

Figure 12.

Scaduto, M. (2017). Panoramic view. [picture].

31

[Accessed 3 Apr.

Figure 13.

Scaduto, M. (2017). Details. [picture].

Figure 14.

Scaduto, M. (2017). Roofs of different materials. [picture].

Figure 15.

Constable J. (1816 - 1818). Willy Lott’s House from the Souter. [Oil on canvas] Figure 16.

Scaduto, M. (2017). Riverside Park from the Rye. [picture].

Figure 17.

Macarthur, J. (2006). The picturesque: object, image and disgust, p.92. 1st ed.Oxon: Routledge Figure 18.

Rosso A., Scaduto M., Volpato M., (2015). Chiostro dei Cipressi (Cloister of Cypresses) by Andrea Palladio in San Giorgio Maggiore Island, Venezia, 1597 : metric survey and proportion analysis [PDF] Figure 19.

Pugin, A.W. (1969), Contrasts or a parallel between the noble edifices of the middle ages, and corresponding buildings of the present day; shewing the present decay of taste. Accompanied by appropriate text, 2nd edn. Edinburgh: John Grant, p. 131. Available at: https://archive.org/details/contrastsorparal00pugi [Accessed 2 Apr. 2017].

Figure 20.

Prout, S. (1812). Cottages near Saltash, Cornwall.

Figure 21.

Prout, S. (1812). Market Day, Antwerp.

Figure 22.

Le Corbusier J. (1923) Sketch for the gallery of Maison La Roche]. In Boesiger, W. 1966, Le Corbusier: the complete architectural works, p. 62.Thames & Hudson, London.

Figure 23.

Le Corbusier J. (1923). Plan of Maison La Roche. In Boesiger, W. 1966, Le Corbusier: the complete architectural works, p.64. Thames & Hudson, London. Edited by the Author.

Figure 24.

Unknown. Gallery of Maison La Roche. In W. Curtis. 1986, Le Corbusier: ideas and forms, p.72. Phaidon, London. [picture] Figure 25

32

Scaduto M. (2017). The gallery of Maison La Roche as suggested by Le Corbusier, based on the actual condition of the room. [digital painting] Figure 26.

Domus, (1980). Casa Malaparte.Interior view from the living room. [image] Available at: https://it.pinterest.com/pin/353391901980177971/ [Accessed 3 Apr. 2017].

Figure 27.

Osso, D. (2017). View from the exhibition room. [image] Available at: http://danielosso.fr/photos/Architecture/Valmy%201792/265.jpg [Accessed 3 Apr. 2017].

Figure 28.

Scaduto M. (2017), Sketches of the Villa Malaparte and the Museum of Valmy. [digital painting] Figure 29.

Constable, J. (1973).In John Constable's sketch-books of 1813 – 1814 pp 66,67. 1st ed. London: Her Majesty Stationery Office.

Figure 30.

Patinir, (1515). St Jerome in a Rocky Landscape. [Oil on oak] London: National Gallery.

Figure 31. de Loutherbourg, P. (1801). Coalbrookdale by Night. [Oil on canvas] London: Science Museum.

Figure 32.

Matisse, H. (1905). Landscape at Collioure. [Oil on canvas] Leningrad: The State Hermitage Museum.

Figure 33.

Uk Urban Exploration, (2016).

Colthrop Paper Mill. [image] Available http://www.ukurbex.co.uk/canalside-paper-mill/#jp-carousel-14014 [Accessed 3 Apr. 2017].

33

at:

BIBLIOGRAPHY Anon, (2017). Riverside Business Park - Bakewell, Derbsyhire. [online] Available at: http://www.littonpropertygroup.co.uk/investment/riverside-business-park-bakewell/ [Accessed 2 Apr. 2017].

Bakewell Partnership Neighbourhood Plan Working Group, (2016). BAKEWELL NEIGHBOURHOOD PLAN. 1st ed. [ebook] Bakewell. Available at: https://media.wix.com/ugd/909455_99c52105e09e428199bf7f28d3737f6d.pdf [Accessed 2 Apr. 2017].

Barbier, C.P. (1963), William Gilpin: his drawings, teaching and theory of the picturesque, Clarendon Press, Oxford.

Bazarov, K. (1981), Landscape painting, Octopus, London.

Constable, J., Leggatt, C., Art Gallery of Ontario, Dulwich Picture Gallery & Frick Collection (1994), Constable: a master draughtsman, Dulwich Picture Gallery, London.

Fassi, A.J. (2010), "Industrial Ruins, Urban Exploring, and the Postindustrial Picturesque", CR: The New Centennial Review, vol. 10, no. 1, pp. 141-152.

Gilpin, W. 1794, Essay I. Three essays on picturesque beauty: on picturesque travel and on sketching landscape to which is added a poem on landscape painting, p. 1, R. Blamire, London.

Goode, P. (2009) et al. The Oxford Companion to Architecture. 1st ed. Oxford: Oxford University Press.

Lockett, R. & Prout, S. (1985), Samuel Prout: 1783-1852, Batsford in association with Victoria and Albert Museum, London.

Macarthur, J. (2006). The picturesque: object, image and disgust. 1st ed.Oxon: Routledge

34

Nicholson, P. (1819). An Architectural Dictionary, containing a correct nomenclature and derivations of the terms employed by architects, builders and workmen ... and the lives of the principal architects, etc. 1st ed. London: J. Barfield.

Peak District National Park Authority (2007). The Design Guide of the Peak District. 1st ed. [ebook] Stoke-on-Trent: Wood Mitchell. Available at: http://www.peakdistrict.gov.uk/__data/assets/pdf_file/0013/90211/designguide.pdf [Accessed 2 Apr. 2017].

Peakdistrictonline.co.uk. (2017). Bakewell | Bakewell Village | Peak District | Derbyshire. [online] Available at: http://www.peakdistrictonline.co.uk/bakewell-c27.html [Accessed 2 Apr. 2017].

Peak District National Park. (2017). Visitor Centres - Bakewell: Peak District National Park. [online] Available at: http://www.peakdistrict.gov.uk/visiting/visitor-centres/bakewell [Accessed 2 Apr. 2017].

Stuart, R. (1830). A dictionary of architecture; historical, descriptive, topographical, decorative, theoretical and mechanical ...; illustrated by 1000 drawings of subjects referred in the work. 1st ed.

London: Jones.

35