Frases de William Burges

William Burges Foto
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William Burges

Fecha de nacimiento: 2. Diciembre 1827
Fecha de muerte: 20. Abril 1881

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William Burges fue un arquitecto inglés del siglo XIX, considerado uno de los de los más destacados del periodo victoriano, buscó con su trabajo escapar del estilo propio de la industrialización y de la arquitectura neoclásica y restablecer la arquitectura y los valores sociales de una utópica Inglaterra medieval. Trabajó en Irlanda, Gales e Inglaterra. Burges se encuadra dentro de la tradición neogótica, sus trabajos entroncan con el movimiento prerrafaelista y el Arts and Crafts.

la carrera de Burges fue corta pero ilustre, ganó su primer encargo importante para la Catedral de San Finbar en Cork en 1

863, cuando tenía 35 años, y murió en su casa de Kensington, The Tower House, en 1881, con 53 años de edad. Su producción arquitectónica es pequeña pero variada. Junto a su equipo de artesanos, construyó iglesias, una catedral, un almacén, una

universidad, una escuela, casas y castillos. Sus obras más notables son Castillo de Cardiff, construido entre 1866 y 1928 y Castell Coch , ambos, se llevaron a cabo para John Crichton-Stuart, tercer marqués de Bute. Otros edificios notables incluyen Gayhurst House, Buckinghamshire , Knightshayes Court , las iglesias de Christ the Consoler y St Mary's, Studley Royal , en Yorkshire, y Park House , Cardiff .

Muchos de sus diseños nunca fueron llevados a cabo o fueron posteriormente demolidos. Sus proyectos para los concursos de las catedrales de Lille , Adelaida , Colombo, Brisbane , Edimburgo y Truro no fueron elegidos. Perdió frente a George Edmund Street, en el concurso para la Reales Tribunales de Justicia en Strand . Su plan para la redecoración del interior de la catedral de Catedral de San Pablo de Londres fue abandonado y él fue despedido de su puesto. El almacén de Skilbeck fue demolido en la década de 1970, y su trabajo en la catedral de Salisbury , en el Worcester College, Oxford y al Knightshayes Court se perdieron en las décadas anteriores.

Más allá de la arquitectura, Burges diseñó orfebrería, escultura, joyas, muebles y vidrieras. Una serie de conferencias que impartió para la Sociedad de la Artes en 1864, denominada Artes aplicadas a la industria, ilustra la amplitud de sus intereses. Los temas que trató incluyen vidrio, cerámica, bronce, hierro, oro plata, muebles, tejidos y decoración exterior. Durante la mayor parte del siglo después de su muerte, ni la arquitectura victoriana fue objeto de intenso estudio, ni se dedicó gran atención a la obra de Burges. Sin embargo, el renacimiento del interés por el arte victoriano y la atención prestada por la arquitectura y el diseño de finales del siglo XX han llevado a una apreciación renovada de Burges y su trabajo.

Frases William Burges

„This may, perhaps, take place in the twentieth century, it certainly, as far as I can see, will not occur in the nineteenth.“

— William Burges
Context: At present the fashion appears to have set in in favour of two very distinct styles. One is a very impure and bastard Italian, which is used in most large secular buildings; and the other is a variety of the architecture of the thirteenth century, often, I am sorry to say, not much purer than its rival, especially in the domestic examples, although its use is principally confined to ecclesiastical edifices. It is needless to say that the details of these two styles are as different from each other as light from darkness, but still we are expected to master both of them. But it is most sincerely to be hoped that in course of time one or both of them will disappear, and that we may get something of our own of which we need not be ashamed. This may, perhaps, take place in the twentieth century, it certainly, as far as I can see, will not occur in the nineteenth. p. 9; Partly cited in: The New Encyclopaedia Britannica: Macropaedia (19 v.) Encyclopaedia Britannica, 1983. p. 514

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„Use a good strong thick bold line so that we may get into the habit of leaving out those prettinesses which only cost money and spoil our design.“

— William Burges
Attributed to William Burges (1860) paper on architectural drawing in: Sir Reginald Theodore Blomfield (1912) [https://archive.org/stream/cu31924015419991#page/n25/mode/2up Architectural drawing and draughtsmen], Cassell & company, limited, 1912. p. 6-7

„Nothing is more perishable than worn-out apparel, yet, thanks to documentary evidence, to the custom of burying people of high rank in their robes, and to the practice of wrapping up relics of saints in pieces of precious stuffs, we are enabled to form a veiy good idea of what these stuffs were like and where they came from. In the first instance they appear to have come from Byzantium, and from the East generally; but the manufacture afterwards extended to Sicily, and received great impetus at the Norman conquest of that island; Roger I. even transplanting Greek workmen from the towns sacked by his army, and settling them in Sicily. Of course many of the workers would be Mohammedans, and the old patterns, perhaps with the addition of sundry animals, would still continue in use; hence the frequency of Arabic inscriptions in the borders, the Cufic character being one of the most ornamental ever used. In the Hotel de Clu^ny at Paris are preserved the remains of the vestments of a bishop of Bayonne, found when his sepulchre was opened in 1853, the date of the entombment being the twelfth century. Some of these remains are cloth of gold, but the most remarkable is a very deep border ornamented with blue Cufic letters on a gold ground; the letters are fimbriated with white, and from them issue delicate red scrolls, which end in Arabic sort of flowers: this tissue probably is pure Eastern work. On the contrary, the coronation robes of the German emperors, although of an Eastern pattern, bear inscriptions which tell us very clearly where they were manufactured: thus the Cufic characters on the cope inform us that it was made in the city of Palermo in the year 1133, while the tunic has the date of 1181, but then the inscription is in the Latin language. The practice of putting Cufic inscriptions on precious stuffs was not confined to the Eastern and Sicilian manufactures; in process of time other Italian cities took up the art, and, either because it was the fashion, or because they wished to pass off" their own work as Sicilian or Eastern manufacture, imitations of Arabic characters are continually met with, both on the few examples that have come down to us of the stuffs themselves, or on painted statues or sculptured effigies. These are the inscriptions which used to be the despair of antiquaries, who vainly searched out their meaning until it was discovered that they had no meaning at all, and that they were mere ornaments. Sometimes the inscriptions appear to be imitations of the Greek, and sometimes even of the Hebrew. The celebrated ciborium of Limoges work in the Louvre, known as the work of Magister G. Alpais, bears an ornament around its rim which a French antiquary has discovered to be nothing more than the upper part of a Cufic word repeated and made into a decoration.“

— William Burges
p. 85; Cited in: "[http://books.google.com/books?id=0EegAAAAMAAJ&pg=PA143 Belles Lettres]" in: The Westminster Review, Vol. 84-85. Baldwin, Cradock, and Joy, 1865. p. 143 Quote was introduced with the phrase: In the lecture on the weaver's art, we are reminded of the superiority of Indian muslins and Chinese and Persian carpets, and the gorgeous costumes of the middle ages are contrasted with our own dark ungraceful garments. The Cufic inscriptions that have so perplexed antiquaries, were introduced with the rich Eastern stuffs so much sought after by the wealthy class, and though, as Mr. Burges observes

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„The civil engineer is the real 19th century architect.“

— William Burges
William Burges in: The Ecclesiologist, Vol. 28, 1867, p. 156: Cited in Crook (2004)

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„If we copy, the thing never looks right [and] the same occurs with regard to those buildings which do not profess to be copies; both they and the copies want spirit. They are dead bodies... We are at our wits.“

— William Burges
William Burges "Art and Religion", in: The Church and the World: Essays on Questions of the Day, Orby Shipley ed., London, 1868, pp. 574-98; As cited in: John Pemble. Venice rediscovered. Clarendon Press, 16 mrt. 1995. p. 133

„I have been brought up in the 13th century belief, and in that belief I intend to die.“

— William Burges
William Burges The Builder, Vol 34, 1876, p. 18: Cited in: Peter Galloway, The cathedrals of Ireland, 1992, p. 62; Also cited in Crook (2004)

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