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In 1979 Pete Wrong of the art collective and Punk band Crass was being interviewed by New Society about his graffiti operation on the London Underground: ‘We don’t just rip the posters down or spray them. We use stencils, neatly, to qualify them.
The planning of cities from the 1940s to the 1960s is one of the major strands of British (and indeed, international) post-war social history.
Robin Usher’s Protestant Dublin sets out its stall from the beginning: it is a study of symbolic and iconographic landscape of Dublin, the essential purpose of which is to explore ‘how the physical environment conveyed meanings relating [sic] to institutional authority’ (p. 3).
John Rocque (c.1705–62) was a cartographer and engraver of European repute, who could count among his achievements maps of London, Paris, Berlin and Rome.
Robert Hooke (1635–1703) is a pivotal figure in the intellectual life of seventeenth-century Europe. In the study to hand, Michael Cooper intends to ‘rectify some of the neglect and misunderstandings about Hooke by examining his work in London as City Surveyor after the Great Fire and relating this to his work in science’ (p. 2).
How do you write the history of buildings? This is not merely a rhetorical question, but a very real problem for anyone whose primary source material is timber or stone structures. The difficulty is that it is necessary to infer intent and function from objects which cannot speak and for which there is little written evidence.