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.

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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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„Allowing, therefore, the great usefulness of the Government Schools, the Exhibitions, and the Museums both public and private, the question now arises as to what are the impediments to our future progress. The principal ones appear to me to be three.
# A want of a distinctive architecture, which is fatal to art generally.
# The want of a good costume, which is fatal to colour; and
# The want of a sufficient teaching of the figure, which is fatal to art in detail.
It will perhaps be as well to take these one by one.
The most fatal impediment of the three is undeniably the want of a distinctive architecture in the nineteenth century. Architecture is commonly called the mother of all the other arts, and these latter are all more or less affected by it in their details. In almost every age of the world except our own only one style of architecture has been in use, and consequently only one set of details. The designer had accordingly to master, 1. the figure, and the great principles of ornament; 2. those details of the architecture then practised which were necessary to his trade; and 3. the technical processes. Now what is the case in the present day? If we take a walk in the streets of London we may see at least half-a-dozen sorts of architecture, all with different details; and if we go to a museum we shall find specimens of the furniture, jewellery, &c., of these said different styles all beautifully classed and labelled. The student, instead of confining himself to one style as in former times, is expected to be master of all these said half-dozen, which is just as reasonable as asking him to write half-a-dozen poems in half-a-dozen languages, carefully preserving the idiomatic peculiarities of each. This we all know to be an impossibility, and the end is that our student, instead of thoroughly applying the principles of ornament to one style, is so bewildered by having the half-dozen on his hands, that he ends by knowing none of them as he ought to do. This is the case in almost every trade; and until the question of style gets gets settled, it is utterly hopeless to think about any great improvement in modern art.“

—  William Burges
p. 8-9; Partly cited in: Journal of the Royal Society of Arts. Vol. 99. 1951. p. 520

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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)

„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

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„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)

„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) Architectural drawing and draughtsmen https://archive.org/stream/cu31924015419991#page/n25/mode/2up, Cassell & company, limited, 1912. p. 6-7

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