An enduring monument of haunting beauty, the Taj Mahal seems a symbol of stability itself. The familiar view of the glowing marble mausoleum from the gateway entrance offers the very picture of permanence. And yet this extraordinary edifice presents a shifting image to observers across time and cultures. The meaning of the Taj Mahal, the perceptions and responses it prompts, ideas about the building and the history that shape them: these form the subject of Giles Tillotson's book. More than a richly illustrated history-though it is that as well-this book is an eloquent meditation on the place of the Taj Mahal in the cultural imagination of India and the wider world. Since its completion in 1648, the mausoleum commissioned by the fifth Mughal emperor, Shah Jahan, for his wife Mumtaz Mahal, has come to symbolize many things: the undying love of a man for his wife, the perfection of Mughal architecture, the ideal synthesis of various strands of subcontinental aesthetics, even an icon of modern India itself. Exploring different perspectives brought to the magnificent structure-by a Mughal court poet, an English Romantic traveler, a colonial administrator, an architectural historian, or a contemporary Bollywood filmmaker-this book is an incomparable guide through the varied and changing ideas inspired by the Taj Mahal, from its construction to our day. In Tillotson's expert hands, the story of a seventeenth-century structure in the city of Agra reveals itself as a story about our own place and time.

The churches of Hampshire are as varied as the landscapes they occupy. Remote rural churches that have changed little in 900 years are so far removed from those found in medieval market towns or bustling seaports that one might imagine that they have little in common. Yet the building materials of natural flint, imported stone from Normandy or the Isle of Wight and, later, local brick hold these diverse buildings together. As an early regional capital Winchester attracted powerful individuals whose influence spread through the county. Monastic houses flourished and have left us grand churches. Courtiers and courtesans have left their marks across the county, as have eighteenth- and nineteenth-century industrialists, many of whom rebuilt or restored churches. This book looks at fifty Hampshire churches from the Saxon gems of Breamore and Titchfield through Romsey Abbey to isolated churches in the folds of the Downs at Idsworth and Wield to nineteenth- and twentieth-century churches that rank amongst England's finest. Together with their rich memorials and furnishings there is something for everyone, and Churches of Hampshire will encourage all those who live in the county or are visiting to discover the history on their doorsteps.

The first churches in Shropshire were built in Saxon times and the county has a proud heritage of church building through the centuries. Although the county town of Shrewsbury and the other major towns contain many of the larger churches, villages and smaller rural settlements are also home to many historical churches of interest. This book will cover a cross section of churches throughout the county, both well-known and those waiting to be discovered by a wider audience, covering a wide range of styles through the centuries. This fascinating picture of an important part of the history of Shropshire over the centuries will be of interest to all those who live in or are visiting this attractive county in England.

The Unitarian religious tradition was a product of the same eighteenth-century democratic ideals that fueled the American Revolution and informed the founding of the United States. Its liberal humanistic principles influenced institutions such as Harvard University and philosophical movements like Transcendentalism. Yet, its role in the history of American architecture is little known and studied. In American Unitarian Churches, Ann Marie Borys argues that the progressive values and identity of the Unitarian religion are intimately intertwined with ideals of American democracy and visibly expressed in the architecture of its churches. Over time, church architecture has continued to evolve in response to developments within the faith, and many contemporary projects are built to serve religious, practical, and civic functions simultaneously. Focusing primarily on churches of the nineteenth and twentieth centuries, including Frank Lloyd Wright's Unity Temple and Louis Kahn's First Unitarian Church, Borys explores building histories, biographies of leaders, and broader sociohistorical contexts. As this essential study makes clear, to examine Unitarianism through its churches is to see American architecture anew, and to find an authentic architectural expression of American democratic identity.

Kent is often referred to as 'the cradle of English Christianity'. Canterbury is not only home to the Anglican Communion but also the location of St Martin's Church, the oldest church in England in continuous use. Kent's religious heritage has benefitted from this, as has its proximity to both the Continent and London. Architecturally, the churches of Kent range from premier Norman churches to tiny manorial churches that still sit in sequestered churchyards having, apparently, been forgotten for centuries. These churches are distinguished by a greater than usual diversity of building material, from the poor-quality but distinctive Kentish ragstone or flint nodules from nearby fields to excellent-quality limestone imported from Normandy and locally produced bricks. Kent's churches also display glimpses into national history with links to early saints like St Mildred and St Sexburga through to Archbishop Thomas Becket, Anne Boleyn, Charles Dickens and Winston Churchill. In this book author John E. Vigar examines not only examples of the great church building campaigns of the medieval period but also later churches. Many have furnishings and memorials where individuals showed their importance in society by beautifying churches to their own glory, including Lullingstone, which was brought up to date in the early eighteenth century by its rich patron, Sir Percival Hart, and examples where new money from industry influenced the county's churches in the Victorian period, outstanding among which is Kilndown. This fascinating picture of an important part of the history of Kent over the centuries will be of interest to all those who live in or are visiting this attractive county in England.

Text in English and German. The church rises to the challenge of providing a spiritual centre for Donau City, the new residential and commercial centre on the opposite bank of the Danube -- not as an act of coronation for the city in the sense of Taut's urban crown, as a temple or cathedral, but as miniature, as a demonstration of the power of the quiet as opposed to the loud, as an 'oasis in the diaspora', to use Karl Rahner's formulation about the parishes of the future. The building gives an impression of starkness: a hard cube, cut off at the corners, clad with sheets of black chromium steel. But it is only stark at first glance. A second glance shows that the hardness is a friendly hardness: because of the reflections that the material admits; because of the grid of the large-format sheets, to which the brightly gleaming drill-holes that cover the walls like fine gossamer respond; because of circular apertures that allow light to shine outwards after dark; because of large, rectangular windows in the receding corners that create a contrast with the closed quality of the building. Inside the starkness gives way altogether: a light space, which one comes into through an art-fully designed entrance. Originally a sparse covering for the space, which thrives mainly because of the light material -- birch wood -, because of the arrangement of the pews, which is as lively as it is peaceful -- segments of circles of different sizes, surrounding the dark syenite altar block in the form of an open circle -- and especially because of the wide range of circular light sources that render the introverted interior transparent, the large windows that create islands of light, the free-form aperture in the ceiling, which sends light gliding down on to the altar. Heinz Tesar's church continues a tradition of forward-looking modern church building, from Rudolf Schwarz's Fronleichnamskirche in Aachen via Egon Eiermann's Kaiser-Wilhelm-Gedachtniskirche in Berlin, Franz Fueg's Piuskirche in Meggen on Lake Lucerne to the new Herz-Jesu-Kirche in Munich by Allmann, Sattler and Wappner; and alongside all this there is also the tradition of a genuinely Viennese development of this theme, from Otto Wagner's Kirche am Steinhof to Ottokar Uhl's parish church Katharina von Siena.

This charming book takes you through the counties of England, exploring Saxon churches, reflective of simple faith; Norman churches with rugged arches and powerful pillars, stamping their authority, gothic churches with their soaring arches; Decorated and Perpendicular churches made glorious with Early English style and craftsmanship; Victorian churches, resplendent with imperial pomp; eccentric Arts and Crafts churches. Every one of them has a remarkable tale to tell, that will move you to exclaim, again and again: 'I never knew that!'.

92-year-old Justo Gallego isn't an architect or a builder, nor has he received any training in construction at all. He couldn't even complete his basic education due to the outbreak of the Spanish Civil War. Nevertheless, more than 40 years ago he decided to build a work he could offer to God and to this task he has since devoted his life. Bit by bit, almost on his own and using mainly recycled materials, he has erected a monumental cathedral in a field in Mejorada del Campo, Madrid. There are no blueprints or drawings or any official project. Everything is inside his head. He says he has taken his inspiration from books on cathedrals and castles, but, above all, from the Gospel. He also says he will continue working in it for as long as he lives.

Each year in the United States, hundreds of religious buildings and schools become vacant or underutilized as congregations and populations merge, move, or diminish. These structures are often well located, attractive, eligible for tax credits, and available for redevelopment. In this practical and innovative handbook, authors Simons, DeWine, and Ledebur have compiled a step-by-step guide to finding sustainable new uses for vacant structures. The reuse of these important buildings offers those charged with revitalizing them an opportunity to capture their embodied energy, preserve local beloved landmarks, and boost sustainability. Rehabbing presents an opportunity for developers to recoup some value from these assets. Neighbors and other stakeholders also enjoy benefits as the historic structures are retained and the urban fabric of communities is preserved. Retired, Rehabbed, Reborn features ten in-depth case studies of adaptive reuse outcomes for religious buildings and public schools that have achieved varying degrees of success. Several case vignettes appear within various chapters to illustrate specific points. The book is a useful tool for architects, planners, developers, and others interested in reusing these important structures. In addition to covering the demographics of demand and supply for historic buildings, the authors demonstrate how to identify a worthy project and how to determine a building's highest and best use, its market potential, and its financial feasibility, including costs and public subsidies. Finally, they address the planning process and how to time the redevelopment and repurposing of these venerable buildings. Simons, DeWine, and Ledebur explain that while each rehab deal is unique and tricky-especially for prominent community structures that hold significant nostalgic and historical value to community stakeholders-there are identifiable patterns of successful and unsuccessful approaches, patterns that are addressed in turn throughout the redevelopment process. As the nation moves toward a mind-set and practice of recycling, reusing, and repurposing, this unique exploration of how that applies to buildings is an essential guide for anyone interested in being part of the process as communities develop and change.

Edinburgh has a unique history, darker and more unexpected than you might imagine. Fortunately, it also has a set of graveyards to match. Ancient, modern, beautiful, haunted - they are the perfect reflection of the city's amazing past with astonishing stories of their own. Greyfriars Graveyard alone was instrumental in the creation of Darwin's Evolutionary Theory, Mary Shelley's Frankenstein, Christmas celebrations and Cats: The Musical. Black Markers explores each cemetery, creating a fascinating patchwork of tales that builds an intriguing picture of Edinburgh through the centuries.

No serious art-historical library should be without it. [The publisher] is to be congratulated for taking on this epic venture. BURLINGTON MAGAZINE. The fifty years between 1130 and 1180 produced some of the most original and evocative capitals of the middle ages - a period that was largely responsible for the evolution of the Gothic style. But despite the fact that many are hard to examine in situ and are often too dark to observe closely, they have rarely been published before. These volumes will therefore be widely welcomed. The 7,600 illustrations they contain cover, in large and exquisite detail,nearly every capital; they include the multitude of works in the great cathedrals and abbeys of the time, including Chartres, Laon, Noyon, Paris, Saint-Denis, Senlis and Sens. The staggering range of individual creativity shows aculture able to reinvent itself in a rare and exciting way. The publication of the fourth and fifth volumes in the sequence completes the photographic archive of foliate carving from the Paris Basin during the formative two centuries in which architecture and the techniques of building were transformed. They are also the foundation for subsequent volumes which will establish a chronology for Early Gothic architecture and sculpture, as well as technological developments in rib vaults and construction methods. Dr JOHN JAMES is a world authority on medieval architecture, and author of over sixty books and articles.

A historian of medieval art and architecture with a rich appreciation of literary studies, Stephen Murray brings all those fields to bear in presenting a new way of understanding the great Gothic churches of the twelfth and thirteenth centuries: as rhetorical constructs.
"Plotting Gothic" begins by positioning the rhetoric of the Gothic as a series of plots, or stories intended for visitors, then extends that concept to the relationship between a building, its audience, and the many interlocutors involved in that relationship, such as builders, scholars, tour guides, and resident clergy. What were the rhetorical commonplaces that such interlocutors used to interpret the Gothic when it was new? Drawing on building records and personal recollections of architects and churchmen, Murray traces common analogies between rhetoric and architectural space that date back to late antiquity, then shows how those links were translated into wood, stone, and space under specific local conditions. The resulting book offers an invigorating new way to understand some of the most lasting achievements of the medieval era.

Six remarkable churches built by Nicholas Hawksmoor from 1712 to 1731 still stand in London. In this book, architectural historian Pierre de la Ruffiniere du Prey examines these designs as a coherent whole--a single masterpiece reflecting both Hawksmoor's design principles and his desire to reconnect, architecturally, with the "purest days of Christianity."

This easily accessible volume, which grew out of a series of lectures presented at the Smithsonian Institution in 1991, aims to provide a coherent introduction to Byzantine culture with a focus on the interconnected realms of art and religion. The eight participants have revised their lectures into chapters on Byzantine history, theology, icons and icon theory, church architecture, monumental painting, silver church furnishings, illustrated liturgical books, and pilgrimage. In addition to presenting current research on this range of topics, the chapters each contribute original scholarship from authors who are recognized experts in their respective fields.

The Introduction, by Linda Safran, deals with views and definitions of Byzantium over the course of its long history and considers why that civilization deserves our attention today. It underscores the essential unifying role of the Orthodox religion in a vast and fluid empire and clarifies how the experiential aspects of that religion--churches, liturgy, church arts and imagery, religious travel--open a window into Byzantine culture. Throughout the book, the past is made vivid by considering what Byzantine believers heard and said and did, as well as what they saw.

The book's chapters are cross-referenced and are complemented both by endnotes that cite primary and secondary sources and by "Suggestions for Further Reading" that include English and foreign-language references. There is no comparable art history text that combines this high-caliber range of current scholarship with more than 250 illustrations, including 16 pages of color plates, to introduce Byzantine culture to a broad readership.

Contributors are Joseph Alchermes, Susan A. Boyd, Anna Kartsonis, Henry Maguire, Robert Ousterhout, Eric D. Perl, Nancy Patterson sevčenko, and Gary Vikan.

The Cambridge Guide to the Architecture of Christianity offers a wide-ranging overview of one of the most important genres of Western architecture, from its origins in the Early Christian era to the present day. Including 103 essays, specially commissioned for these two volumes and written by an international team of scholars, this publication examines a range of themes and issues, including religious building types, siting, regional traditions, ornament, and structure. It also explores how patrons and architects responded to the spiritual needs and cult practices of Christianity as they developed and evolved over the centuries. This publication is richly illustrated with 588 halftones and 70 color plates. 856 additional images, nearly all in color, are available online and are keyed into the text. The most comprehensive and up-to date reference work on this topic, The Cambridge Guide to the Architecture of Christianity will serve as a primary reference resource for scholars, practitioners, and students.