Religious Representation in Place brings together an interdisciplinary group of scholars from the Humanities and Sciences to broaden the understanding of how religious symbols and spatial studies interact. The essays consider the relevance of religion in the experience of space, a fundamental dimension of culture and human life.

Among the most magnificent buildings of England are its Anglican cathedrals, great symbols of spiritual and architectural power. There are few experiences more uplifting and humbling than standing in the nave of a cathedral, and no one can fail to marvel at Durham's incomparable Romanesque masterpiece, the elegant stylistic unity of Salisbury, the world-famous stained glass of Canterbury or the striking Gothic scissor arch at Wells. Britain is the top foreign tourist destination for Americans, with 3 million visiting each year, and historic buildings are the top visitor sites. Canterbury Cathedral alone receives over 40,000 visitors each year from the United States and, together with Durham, is a World Heritage Site. In this truly breathtaking book, award-winning Magnum photographer, Peter Marlow, has captured the nave of each of England's 42 Anglican cathedrals. Taken in natural light at dawn, usually looking towards the east window, these remarkable images bring into sharp relief the full splendour of the buildings. Marlow first took up photography as a student, after visiting an exhibition of the photographs of Walker Evans at the Museum of Modern Art in New York. The impetus to begin photographing cathedrals came from a commission in 2007 from the Royal Mail for photographs of the interiors or six cathedrals, for use on a set of commemorative stamps. Once the commission was complete, Marlow was inspired to continue the project in his own time. Approaching the Dean and Chapter of each cathedral, he gained permission to enter each building in the early hours of the morning and to turn off all artificial lights. Marlow adopted a kind of ritual, waking as early as 3.00 am to drive to the location and begin working from 6.00 am. In this window of opportunity, he watched the cathedral interior emerge from the darkness and come to life. Marlow's spellbinding photographs are accompanied by his commentary on the project, including sketches, preparatory shots and technical notes; an introduction by curator Martin Barnes on the tradition of church photography, especially the work of Frederick Evans and Edwin Smith; and a concise summary of each cathedral interior by architectural historian John Goodall.

The history of a building site in Moscow where Russian rulers since Alexander I have planned, constructed, and destroyed monuments of colossal proportions This book surveys two centuries of Russian history through a succession of ambitious architectural projects designed for a single construction site in central Moscow. Czars, Bolshevik rulers, and contemporary Russian leaders alike have dreamed of glorious monuments to themselves and their ideologies on this site. The history of their efforts reflects the story of the nation itself and its repeated attempts to construct or reconstruct its identity and to repudiate or resuscitate emblems of the past. In the nineteenth century Czar Alexander I began to construct the largest cathedral (and the largest building) in the world at the time. His successor, Nicholas I, changed both the site and the project. Completed by Alexander III, the cathedral was demolished by Stalin in the 1930s to make way for the tallest building in the world, the Palace of Soviets, but that project was ended by the war. During the Khrushchev years the excavation pit was transformed into an outdoor heated swimming pool-the world's largest, of course-and under Yeltsin's direction the pool was replaced with a reconstruction of the destroyed cathedral. The book explores each project intended for this ideologically-charged site and documents with 60 illustrations the grand projects that were built as well as those that were only dreamed.

Fifty years after the Second Vatican Council, architectural historian Robert Proctor examines the transformations in British Roman Catholic church architecture that took place in the two decades surrounding this crucial event. Inspired by new thinking in theology and changing practices of worship, and by a growing acceptance of modern art and architecture, architects designed radical new forms of church building in a campaign of new buildings for new urban contexts. A focussed study of mid-twentieth century church architecture, Building the Modern Church considers how architects and clergy constructed the image and reality of the Church as an institution through its buildings. The author examines changing conceptions of tradition and modernity, and the development of a modern church architecture that drew from the ideas of the liturgical movement. The role of Catholic clergy as patrons of modern architecture and art and the changing attitudes of the Church and its architects to modernity are examined, explaining how different strands of post-war architecture were adopted in the field of ecclesiastical buildings. The church building's social role in defining communities through rituals and symbols is also considered, together with the relationships between churches and modernist urban planning in new towns and suburbs. Case studies analysed in detail include significant buildings and architects that have remained little known until now. Based on meticulous historical research in primary sources, theoretically informed, fully referenced, and thoroughly illustrated, this book will be of interest to anyone concerned with the church architecture, art and theology of this period.

Borrowing from a range of theories on spacemaking and material religion, and with contributions from anthropologists working in the United Kingdom, Mali, Brazil, Spain, and Italy, this fascinating and comprehensive study develops an anthropological perspective on modern religious architecture including mosques, churches, and synagogues. "Religious Architecture" examines how religious buildings take their place in opposition to their secular surroundings and, in so doing, function not only as community centers in urban daily life, but also as evocations of the sublime that help believers to move beyond the boundaries of modern subjectivity.

A bright white temple as if carved from ice. Statues in candlelit caves. Massive red monastery walls in the midst of majestic mountains. In this beautiful book of travel photography, Christoph Mohr presents the most sacred places of Buddhism. Across Myanmar, Thailand, Vietnam, China, Tibet, Ladakh, Zanskar, and other Asian regions, Mohr shows Buddhist temples, monasteries, sacred mountains, and illuminates the life of the historical Buddha. The images are accompanied by texts from Oliver Fulling, sharing the basics of Buddhism and everyday Buddhist practice and rituals.

A comprehensive study of the sacred buildings built and designed by Frank Lloyd Wright, this book offers scholarly discussion with analytical drawings and photographs. These projects represent different periods of Wright's career (from 1886 to 1958), new building technologies, and application of his design concepts as demonstrated in his sacred architecture. This unique contribution will be useful to all those interested in Wright's architecture and theory as well as in sacred architecture.

This first comprehensive overview of the process of commissioning and financing the construction of cathedrals in the Middle Ages reveals a financing system almost as monumental as the cathedrals themselves. Here we follow the historian on a fascinating examination of construction accounts and other sources - extant but never so minutely explored - bringing the bishop and the chapter to account, as it were. The book is divided into two parts. The first gives a broad overview of the resources on which medieval commissioners could draw, including contributions from the bishop, chapter, sovereign, city and, above all, the faithful of the diocese in which the cathedral was erected. The second part is a case study of the financing of construction at Utrecht Cathedral, whose archives are among the best preserved in Europe, followed by a brief discussion of the financing of several other cathedral building projects throughout Europe and of the church of St Peter's in Rome.

The ruined silhouette of the Parthenon on its hill above Athens is one of the world's most famous images. Its 'looted' Elgin Marbles are a global cause celebre. But what actually are they? In a revised and updated edition, Mary Beard, award winning writer, reviewer and leading Cambridge classicist, tells the history and explains the significance of the Parthenon, the temple of the virgin goddess Athena, the divine patroness of ancient Athens.

In this book, Alessandro Pierattini offers a comprehensive study of the evolution of pre-archaic Greek temple architecture from the eleventh to mid-seventh century BCE. Demystifying the formative stages of Greek architecture, he traces how temples were transformed from unassuming shrines made of perishable materials into large stone and terracotta monuments. Grounded in archaeological evidence, the volume analyzes the design, function, construction, and aesthetic of the Greek temple. While the book's primary focus is architectural, it also draws on non-architectural material culture, ancient cult practice, and social history, which also defined the context that fostered the Greek temple's initial development. In reconstituting this early history, Pierattini also draws attention to new developments as well as legacies from previous eras. Ultimately, he reveals why the temple's pre-Archaic development is not only of interest in itself, but also a key to the origins of the Greek monumental architecture of the Archaic period.

Far and away the best narrative of western architecture in existence...it stands out as an intellectual triumph. - Sir John Summerson In this highly acclaimed, classic reference work David Watkin traces the history of western architecture from the earliest times in Mesopotamia and Egypt to the late twentieth century. For this seventh edition, revising author Owen Hopkins provides a new introduction contextualizing Watkin's approach. The final chapter on the twenty-first century has been completely rewritten by Hopkins, who brings the story right up to date with the inclusion of such topics as re-use, digital cities and virtual architecture.

This book reinterprets the Muslim architecture and urban planning of South India, looking beyond the Deccan to the regions of Tamil Nadu and Kerala - the historic coasts of Coromandel and Malabar. For the first time a detailed survey of the Muslim monuments of the historic ports and towns demonstrates a rich and diverse architectural tradition entirely independent from the better known architecture of North India and the Deccan sultanates. The book, extensively illustrated with photographs and architectural drawings, widens the horizons of our understanding of Muslim India and will no doubt pave new paths for future studies in the field.

The aim of the book is to energize the ongoing debate in academia and among practitioners on the meaning and understanding of Islamic architecture. It contains seventeen essays by architects and academicians from different parts of the world, representing an effort to clarify how the various disciplines of the design profession can be employed to build in the spirit of Islam.

The churches of Wales are one of Britain's great unheralded treasures, yet for many years there has been no book devoted to them and they await the kind of complete coverage given to churches elsewhere in Britain. Astonishingly, this is the first opportunity for a book on the subject to show them at their best in colour as well as words.The archetypal Welsh church is not in town or village, enhanced by generations of patronage: it is the isolated, simple, evocative walls-with-roof, in a landscape often spiritually charged. The Welsh churches tell us about medieval times, and the Age of Saints that came before and, amazingly of the pagan Celtic times before that, which they were meant to erase.Illustrated in colour, "One Hundred Welsh Churches" encompasses a millennium of churches around Wales, from tiny St Govan's tucked in its cliff-face, through ruined Llanthony to the magnificence of the cathedrals at Llandaff and St David's. It is an invaluable repository of history, art and architecture, spirituality and people's lives which will appeal to the historian and the tourist, communicants and those without a god.

People wonder what the future holds for them; they would no doubt like to know for certain. But is it possible? It may be, but how desperate are you to know? Are you willing to risk being deceived just to believe in something you just want to hear and believe?

Many wonder whether there really is a way of finding out. Will you regret your choice in putting your complete confidence in someone who claims they have all the answers? Will they be correct? Or will you suffer disappointment or beyond. It has been said that no one but Almighty God knows the future for anyone. Are you willing to seek his way for answers, or will you choose another way, a way that has been known to bring sorrow and counterfeit results--a way that has a reputation to continually fail, such as turning to a psychic?

Edition of original letters and other documents sheds light on a major ecclesiastical controversy. In 1881, after decades of mouldering into ruin, the grand fifteenth-century church of Blythburgh, Suffolk, "The Cathedral of the Marshes", was closed as unsafe. The church was saved - but its rescue involved a bitter twenty-five year long dispute between Blythburgh vicars and committees, and William Morris and his Society for the Protection of Ancient Buildings, who feared that the medieval fabric would be over-restored and the character of the building lost forever. This volume presents an edition, with notes and introduction, of original documents from both sides - providing unique insights into a rancorous conflict, with vicars pitted against patrons as well as the Society.The need was local, but the significance national, with elites ranged against another. From a description of the Blythburgh committee headed by a royal princess, to accounts of lavish fund-raising fetes and garden parties, the story is vividly brought to life. Alan Mackley, an honorary research fellow at the University of East Anglia, studied history after a career as a scientist in the oil industry. He has lived in Suffolk for over 35 years.

First modern edition of a major source of evidence for life in a cathedral immediately prior to the Dissolution. The importance of the Rites of Durham as a description of a monastic cathedral on the eve of the Dissolution has long been recognized. This new edition, the first for over a century, includes an introduction, placing the Rites in the context of the religious tensions of the Reformation and attributing it to the late sixteenth-century Durham antiquary, William Claxton; a new text based on manuscripts not known to previous editors and giving the full range of variants; a detailed commentary explaining the text and testing out its accuracy against other evidence, including traces in the fabric of the cathedral and its precinct; thirty-six plates showing early drawings of the cathedral and its precinct, surviving objects relating to those described in the text; and manuscript illuminations casting light on the descriptions to be found there; and five plans to facilitate understanding of the text.In addition, a series of appendices contains a full edition of the related text which describes the windows of Durham Cathedral and its precinct; the first ever edition of the letters of William Claxton; an edition of the descriptions of the bells and the organs of the cathedral added to the Rites by the Durham antiquary James Mickleton the elder (1638-93); and a detailed analysis of the earliest surviving manuscript of the Rites, which is in the form ofa paper roll. The volume is completed by a comprehensive index.