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Protected Vista: An Intellectual and Cultural History [Minkštas viršelis]

(Newcastle University, UK)
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The Protected Vista

draws a historical lineage from the eighteenth-century picturesque to present-day planning policy, highlighting how the values embedded within familiar views have developed over time through appropriation by diverse groups for cultural and political purposes.





The book examines the intellectual construction of the protected vista, questioning the values entrenched within the view, by whom, and how they are observed and disseminated, to reveal how these views have been, and continue to be, part of a changing historical and political narrative. With a deeper knowledge and understanding of the shifting values in urban views, we will be better equipped to make decisions surrounding their protection in our urban centres. The book identifies the origins of current view protection policy in the aesthetic convention of the picturesque, drawing on a range of illustrated examples in the UK, the US, Australia, Canada and South Africa, to serve as a useful reference for students, researchers and academics in architecture, architectural conservation, landscape and urban planning.

Introduction 1(6)
PART 1 The origins of the protected view: the view from Richmond Hill
7(74)
1 Introduction
9(72)
Early history
9(1)
Royal retreat
10(1)
Richmond Hill: the oblique aerial view
11(4)
Terrace Walk
15(2)
`Scopic regimes' and `Cartesian perspectivalism'
17(2)
Prince Henry, Solomon de Caus and the Renaissance gardens of Richmond-upon-Thames
19(3)
Perspective and the theatre: Richmond Hill theatre
22(1)
Theatre of human interaction: Richmond Hill pleasure garden
23(3)
Richmond Hill villas
26(2)
Alexander Pope and the naturalistic garden
28(5)
Kent, Burlington and the influence of the Italian landscape
33(2)
Richmond's poetic landscape
35(3)
Theorising a picturesque convention
38(6)
Gothic's absorption of the picturesque
44(3)
Centring the imperial landscape in Richmond
47(2)
The railway, suburbia and the persistence of the picturesque
49(12)
`Indignation': what man owns the glory that Turner painted?
61(9)
Concluding remarks
70(11)
PART 2 Translating images of Richmond
81(111)
2 Introduction
83(4)
3 Two American Richmonds: `Richmond Hill', New York, and Richmond, Virginia
87(54)
`Richmond Hill', Manhattan Island, New York
88(3)
Richmond, Virginia
91(4)
The view as symbol of American nationalism: Church Hill, Richmond, Virginia
95(3)
The view, and its manipulation, in the work of Benjamin Henry Latrobe
98(2)
Latrobe and the picturesque
100(1)
Latrobe's Virginia villas
101(2)
Thomas Jefferson in Richmond
103(3)
Libby Hill's Greek Revival villas: Richmond as classic city
106(2)
The literary portrayal of Libby Hill and the visual construction of the `South'
108(2)
Photography and the city
110(3)
Monumentalising the view: Libby Hill as memorial to the Confederate cause
113(2)
Windsor Farms: suburban projections of `Old England'
115(5)
William Lawrence Bottomley: re-imagining `colonial' Richmond
120(2)
The enduring re-inscription of Richmond's romantic image
122(2)
Cinematic itineraries in the nostalgic picturesque: Colonial Parkway
124(2)
The moving image: parkways and cinema
126(1)
Scenic byways: projecting the romantic vision
127(4)
Interstate image corridors: the persistence of parkway vision
131(3)
Concluding remarks
134(7)
4 Richmond, NSW
141(26)
The Hawkesbury River
141(1)
`Discovery'
142(1)
The picturesque and the panoramic
143(2)
Three `Richmond Hills'
145(2)
Developing the Hawkesbury landscape: Governors Grose and Macquarie
147(4)
The Frontier Wars
151(1)
Depicting the Hawkesbury
152(7)
The persistence of the Hawkesbury picturesque
159(1)
`No trucks through historic square!'
160(2)
Concluding remarks
162(5)
5 Richmond Hill, Port Elizabeth, South Africa
167(25)
Strangers' Location
168(5)
Richmond Hill
173(3)
Richmond Hill as emblematic gentrification
176(7)
Policing Richmond Hill: vision, surveillance and the SRA
183(4)
Concluding observations
187(5)
Conclusion
192(14)
A sense of nostalgia
193(2)
The aesthetic convention of the picturesque
195(1)
Regional, cultural or national identity
196(2)
The power of the gaze
198(1)
The question of authenticity
199(4)
Concluding observations
203(3)
Bibliography 206(7)
Index 213
Tom Brigden is Leverhulme Early Career Research Fellow at Newcastle University, UK, and Associate at Purcell, the UK's leading conservation specialist. His heritage consultancy work has included compiling view assessments for significant historic buildings, from London to Melbourne, Australia.