Architecture

Oriel was only the fifth college to be founded in Oxford, in 1326. Although it has gone through periods of relative obscurity in the intervening seven centuries, it has also, at other times, been at the very centre of the intellectual life, not only of the university but of the nation. In the early 19th century, the Senior Common Room was dominated by the Noetics. These broad churchmen, who included Thomas Arnold, a fellow of the college before he became a famous head-master, believed in the acceptance of utilitarian economics, but also an application of Christian principles to society at large. Against them, and in the same common room, were

Once below a time (to quote the man himself) the bloated poet Dylan Thomas slouched back to New York’s Chelsea Hotel in the dead of night and informed his mistress that he had just drunk 18 straight whiskies, which he suspected was a record. He then dropped to his knees, lowered his head onto her lap and mumbled his last words: ‘I love you, but I’m alone.’ On another occasion, during a fund-raising lunch, Jackson Pollock drunkenly vomited on the Chelsea’s carpet, inadvertently improvising, you might say, one of his own drip paintings. On yet another, plastered, the novelists Jack Kerouac and Gore Vidal decided that they ‘owed it to

A building bearing testimony to the power of eternal Russia; a timeless symbol of the Russian state; a monument to Russian sovereignty. To the modern eye, the Kremlin fortress seems as if it had always been there, as if it had never changed and never will. All of which is utter nonsense, as Catherine Merridale’s fascinating history reveals: the story of this famous compound is not one of continuity, but of construction, destruction and reconstruction. Every reincarnation of the Russian state over the centuries — and there have been many — has been accompanied by a corresponding reincarnation of the Kremlin. Its history is thus a metaphorical history of Russia,

Over the past 45 years, there have been two distinct and divergent approaches to Art Deco. One of them — which was mine when I wrote the first little book on the subject in 1968 — was to treat the subject as a sociological, as well as artistic, phenomenon. As I wrote then, it was ‘the last of the total styles’, affecting almost everything, from letter-boxes and powder compacts to luxury liners and hotels. With that approach, one shows the dross as well as the gold, and asks such questions as ‘Why did the style become so universal?’ ‘How far did it succeed (with mass production) in coming to terms

Anyone with a passing interest in old British buildings must get angry at the horrors inflicted on our town centres over the last half-century or so. Gavin Stamp is wonderfully, amusingly, movingly angry. And he has been ever since the early 1960s when, as a boy at Dulwich College, he saw workmen hack off the stiff-leaf column capitals in the school cloisters. He reserves particular rage for that ‘cynical, philistine Whig’ Harold Macmillan for murdering the Euston Arch. Not that Stamp’s a ranting fogey, reserving his anger only for the demolition of Victorian buildings. A former chairman of the Twentieth Century Society, he is deeply upset by the demolition of

I don’t know whether Bruce Bailey, a proud Northamptonshire man, agrees with the late Sir Nikolaus Pevsner that no one would visit his county for its landscape. In the introduction to the first edition of this architectural guide, published in 1961, Pevsner wrote that although Northamptonshire bordered on more counties than any other in England (nine in all), it lacked ‘any of the memorable scenic qualities one may connect with some of them’. ‘Its beauty spots are few,’ he said. ‘There is no coast, nor a spectacular range of hills.’ Pevsner was, of course, German-born and therefore perhaps of the German romantic view that landscape without rocks and peaks and

Here, for time travellers, is the whack-job spirit of ’68 in distillate form, paperbound and reissued in facsimile (with some exculpatory, older and wiser material fore and aft). Adhocism (re)captures with magical realism the boldness and silliness of its day.  This was the day when ‘new media’ meant colour television. Younger readers may need more instruction on the nature of this spirit. Students in Paris hurled St Germain cobblestones at gendarmes in clouds of teargas and students at Hornsey College of Art sat in to protest I cannot quite remember what in clouds of pot smoke. The Parisians read Guy Debord on situationism, the Hornseyites drooled over nudes in the

In his 1780 essay On Modern Gardening Horace Walpole declared that of the many ornamental features then fashionable, the one ‘whose merit soonest fades’ was the hermitage. Inspired by the ancient cells of genuine religious anchorites, but largely decorative, garden hermitages had flourished in Britain during the 18th century. While some were appropriately primitive in design, others had Gothick doorways and windows filled with stained glass, floors made of pebbles or sheep’s knucklebones arranged in elaborate patterns, ceilings ornamented with pine cones, rustic furniture made from elm boles ‘distorted by fungal disease’, and inscriptions carved in stone to aid philosophical reflection. Walpole may have found it ‘almost comic to set

Peter Stanford likes cemeteries. Daily walks with his dog around a London graveyard acclimatised him, while the deaths of his parents set him wondering about customs of mourning and places of burial. Over a couple of years he visited a number of sites, including the war graves of northern France, the catacombs of Rome and a contemporary woodland burial park in Buckinghamshire. He makes no claim to a comprehensive survey, but it seems perverse not to visit Highgate cemetery, yet succumb to the tourist trap of the Père-Lachaise in Paris. To extrapolate about graveyards from a visit to Père-Lachaise would be like going to Harrods in order to find out