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My research has been published in Architectural History, the Antiquaries Journal, and I write articles and reviews for a variety of publications, including the newsletters of the Society of Architectural Historians of Great Britain and the London Topographical Society. You can read my contributions to the international art magazine Apollo here. I've also edited and contributed to a variety of volumes - below is a selection of the more substantial offerings. |
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To accompany the exhibition 'Opening Lines: Sketchbooks of Ten Modern Architects', which I co-curated at the Tchoban Foundation Museum for Architectural Drawing in Berlin, we produced a series of publications on some of the architects featured in the show: Tony Fretton, Niall McLaughlin, Adolfo Natalini and Álvaro Siza. Each book consists of interviews with the architect and reproductions of pages from their sketchbooks. I was fortunate enough to write the essay accompanying the volume on Niall McLaughlin. These lovely books, beautifully designed by Ray O'Meara, are available from the Drawing Matter website. |
I'm delighted to have collaborated with my friend, the brilliant artist Ed Kluz, on the first book devoted to his remarkable work. The Lost House Revisited examines the allure of lost houses, from the partially ruined to the completely vanished. It explores nine different country houses, including Holdenby, Hamstead Marshall, Coleshill, Eastbury Park and Fonthill Abbey, which Ed has miraculously resurrected in his visionary collages, scraperboards and sketches. I've written a biography for each house, detailing its history and fate. Tim Knox has penned an entertaining introduction, and John Harris, house-snooper par excellence, has done us the honour of providing the foreword. The book has been beautifully published by Merrell, and is available in all good bookshops.
'The Mirror of Great Britain': National Identity in Seventeenth-Century British Architecture (Spire, 2012) is an edited volume of essays arising from a symposium that I organised for the Society of Architectural Historians of Great Britain.
The aim of this book is to focus attention on what we mean as architectural historians when we talk about 'British' architecture, particularly when dealing with the seventeenth century when the identities of England, Scotland and Ireland were being negotiated and when territorial expansion was taking place internationally. There are essays on architecture across the British Atlantic World, including Scotland, Wales, Ireland, America and Bermuda.
Reviewing it in the Transactions of the Ancient Monuments Society, Richard Fawcett said it offers 'a thought-provoking. . . salvo that deserves to reach a wide readership.' Hurrah!
The aim of this book is to focus attention on what we mean as architectural historians when we talk about 'British' architecture, particularly when dealing with the seventeenth century when the identities of England, Scotland and Ireland were being negotiated and when territorial expansion was taking place internationally. There are essays on architecture across the British Atlantic World, including Scotland, Wales, Ireland, America and Bermuda.
Reviewing it in the Transactions of the Ancient Monuments Society, Richard Fawcett said it offers 'a thought-provoking. . . salvo that deserves to reach a wide readership.' Hurrah!
Irish Gothic Architecture: construction, decay and reinvention (Wordwell, 2012), edited by Roger Stalley, is about Gothic architecture and its afterlife in Ireland. It is one of the outcomes of the IRCHSS-funded project Reconstructions of the Gothic Past at TRIARC, Trinity College Dublin for which I was the post-doctoral researcher and later research associate.
My chapter, entitled 'Ruin and Reparation: medieval parish churches in seventeenth- and eighteenth-century Ossory', explores how it came to be that the Irish countryside is punctuated by hundreds of ruined medieval churches. Received wisdom is that they were devastated by Oliver Cromwell, but my analysis of primary sources such as visitation reports and administrative surveys has revealed a more complex and subtle history.
I'm delighted to say that in his review in the SAHGB Newsletter (No. 111), Richard Fawcett (who seems to have reviewed most things I've contributed to) considered my chapter to be a 'meticulous analysis' and said of the book as a whole that it was 'an attractive volume'. Copies of this fine publication are available from Wordwell Books.
My chapter, entitled 'Ruin and Reparation: medieval parish churches in seventeenth- and eighteenth-century Ossory', explores how it came to be that the Irish countryside is punctuated by hundreds of ruined medieval churches. Received wisdom is that they were devastated by Oliver Cromwell, but my analysis of primary sources such as visitation reports and administrative surveys has revealed a more complex and subtle history.
I'm delighted to say that in his review in the SAHGB Newsletter (No. 111), Richard Fawcett (who seems to have reviewed most things I've contributed to) considered my chapter to be a 'meticulous analysis' and said of the book as a whole that it was 'an attractive volume'. Copies of this fine publication are available from Wordwell Books.
Art For The Nation: The Oil Paintings Collections of the National Maritime Museum (NMM, 2006), edited by Geoff Quilley, examines the formation of the collections at the National Maritime Museum in Greenwich.
My contribution - the chapter entitled 'A notable gift to the Nation: the Ingram Collection' - focusses on Sir Bruce Ingram, who in the 1950s and 1960s gave the museum over 700 drawings and more than 30 paintings. In it I explore the contribution his donations made to the museum's collection as a whole and how contemporaries saw in the marine paintings of the seventeenth century a nostalgic and patriotic vision of Britain's maritime strength.
It is now out of print, but you can find it via second-hand bookshops, or possibly mouldering on an aged aunt's bookshelf.
My contribution - the chapter entitled 'A notable gift to the Nation: the Ingram Collection' - focusses on Sir Bruce Ingram, who in the 1950s and 1960s gave the museum over 700 drawings and more than 30 paintings. In it I explore the contribution his donations made to the museum's collection as a whole and how contemporaries saw in the marine paintings of the seventeenth century a nostalgic and patriotic vision of Britain's maritime strength.
It is now out of print, but you can find it via second-hand bookshops, or possibly mouldering on an aged aunt's bookshelf.