One of the most interesting findings from self-publishing my forthcoming book (short title ‘Building Passions’) on the 19th-century Brunels and Barrys is that sourcing images is complicated!
I could probably write a separate book about this but below are some bullets.
- My editor quite rightly advised me to start sourcing images early in the process. It has probably taken me about 4 months and there is still one outstanding one to be licensed.
- People and organisations have different policies for licensing images ranging from free, no hassle to costly and complex! This seems to bear little relevance to the provenance of the image …
- The internet has taken the lead in encouraging the shared use of free images through Creative Commons and similar schemes.
- Certain images of well-known privately-owned buildings e.g. the Burj Khalifa and the Shard are copyrighted, but in the case of the Eiffel Tower while you can use a daytime image freely, you can’t use a nighttime one as the electric lighting is trademarked …
- Non-fiction works are therefore more costly to publish so if you want to spend less, write fiction and include your own illustrations.
I am sympathetic to living producers of genuine artistic objects who need to be recognised and rewarded for their efforts, in order to allow the creative design process to flourish.
However, I am less sympathetic to others outside this category, particularly archives and agencies that charge self-publishers large sums for the reuse of their images, many of which may have outlived their ‘real’ copyright needs.
I think we need to strike a balance here, as with many areas of life. If not, one day perhaps everything we see will be labelled ‘not for reuse’, including ourselves. See this intriguing piece about copyrighting the tattoos of famous sports personalities …
We were on a mini road trip of parts of England for a few days. More than 1000 miles clocked up at least.
We dropped in on a Barry and Banks Jacobethan manor hall in Norfolk and a Nash Italianate villa built in Shropshire in 1802. We also saw Gothic Ilam Park in the Peak District and the amazing St Giles Roman Catholic Church in Cheadle by Pugin.
In between we admired the beautiful Lake District countryside where Wordsworth, Ruskin and Beatrix Potter all lived.
For me it was a reaffirmation of the treasures that can be found in my home country. Some of these I will write about in my forthcoming book. More importantly I will be able to include current day images of them.
You will have to wait until publication to see these, so in the meantime I have included a classic Lake District scene for you to contemplate – who knows it may inspire you to go there?
What is your writing style?
Mine is to edit as I write which I suppose is the luxury of using word processors. Is there an electronic version of the typewriters I once started with, where you can only write and then cover your e-paper with handwritten scribblings?
The problem with the EAYW approach is that you can get bogged down in the minutiae of grammar, spelling, language and facts. This grinds free flowing creativity to a standstill.
Since my book is about engineering and architecture let’s try a building analogy.
If you build a new patio in your garden you have a big choice of finishes you can use: slabs, stones, bricks, concrete, gravel, timber etc. This will be influenced by aesthetics and maintenance.
But what matters before you can appreciate the end product is using the right type and amount of foundations. Without these your finished patio may look superficially great, but over time will lose its beauty and function. Too little support or drainage and slabs will tilt or sink …
Of course people are only going to remember the top layer. So no point perfecting the foundations and then covering them with a cheap finish.
Like many things in life it is about achieving the correct balance between form and function. People who build have always struggled with this and since their finishes are often viewed by many, they open themselves up to public critique as well as adulation.
Read more about this on the blog and eventually in the book.
In the previous post in this series I referred to a unique office building in Liverpool, England completed in 1864 and how it had influenced architectural thinking about high rise buildings in late 19th Century America.
This post is about the architect Victor Horta.
I knew little about him until recently, when I began researching the origins of Art Nouveau as a revolutionary architectural style which flourished across the turn of the 19th and 20th Centuries. This connects with investigations related to Augustus Pugin, as well as into the relationship between architectural aesthetics and engineering form, some of which is recorded on this website about the civil engineer Sir John Wolfe Barry.
Horta appears to me to have been a remarkable man. But he was also a reflection of the time and place he lived. Born in Ghent, Belgium in 1861, he eventually moved to Brussels, the Belgian capital, where his unique approach to architecture struck a chord with key members of the city community. One particular building stands out for me and many others who have like me appreciated his efforts. This is the Hotel Tassel.
It was to be the home of a professor of geometry who was a Freemason like Horta. It seems the architect was given complete artistic licence. But he approached this, as Morris and Webb had done with their ground-breaking Red House in England, with a philosophical bent which captured the full expression of his talent in design and the detailed application of materials and techniques.
My new project will look at how this created vision still reverberates within the community that is Brussels.
The final post in this series.
This year is the bicentenary of the founding of the Institution of Civil Engineers in 1818. It is also 100 years since Sir John Wolfe Barry died. Next year we will celebrate 125 years since he completed Tower Bridge in 1894.
Wolfe Barry was President of the ‘Civils’ and in this role keen to ensure that young civil engineers were given the right training to design and build bridges. At that time architects were less involved in the design process for bridges but this was changing.
Was Sir John qualified to design and build Tower Bridge?
Yes, in terms of producing the right physical structure and having the general engineering skills needed to start and finish the project successfully. His drawing skills were also good, no doubt boosted by the family specialism in architecture. However, the original designs for the bridge were not his. They belonged to Sir Horace Jones, the Corporation of London’s architect. Wolfe Barry was consulted by Jones on the engineering practicalities and provided evidence to Parliament on these, which may well have been a deciding factor in getting construction approval. Jones died soon after building began, but was succeeded by his architectural assistant George Stevenson.
John Wolfe Barry’s business partner Henry Brunel was also involved in the design and build process for Tower Bridge. His father IK Brunel had designed and part-built Clifton Suspension Bridge until the money ran out and was also responsible for the aesthetically pleasing railway bridge across the Thames at Maidenhead.
So my question to Twitterati (see @behroutcomes) which became the title of this post was designed to explore the early relationship between architects and engineers in bridge-building. Names that have come up include Vitruvius, Appollodorus, Li Chun and Palladio. Let’s see who else appears …
Architecture has its modern day heroes such as Enzo Piano or Norman Foster or the late Zaha Hadid.
Civil and structural engineers are less well known nowadays compared to the legends of the past.
What has happened?
I would venture to suggest that people are more impressed nowadays by creativity and aesthetics than by downright structural solidity.
Is this fair?
No, but then it’s not fair that medicine attracts huge numbers of applicants and quite happily rejects large percentages of them in the upper echelons. No shame in not making the cut, you can always try another profession (by implication, easier).
I hope very much that this bias will change over time. I don’t believe it helps any profession. It’s not the obvious that matters, rather the less well perceived.
However beautiful a skyscraper or a bridge, what we need to be sure of is that they will last serving a good purpose. They won’t if they collapse or if they produce more problems than solutions for the communities in which they are built.
The Victorians were huge achievers on a global scale.
Amongst the many contributors to this process were civil engineers such as Telford, Brunel, Hawkshaw, Fowler, Baker and Wolfe Barry.
I attended a wonderful book launch this week for Roma Agrawal’s new book BUILT during which she kindly signed my copy. The occasion was hosted at the Brunel Museum in Rotherhithe on the site of the first traffic tunnel under a navigable waterway, the River Thames. The civil engineers responsible were Marc and Isambard Brunel, father and son. As I’ve posted elsewhere on this site, Isambard’s son Henry became a close business partner of John Wolfe Barry.
The final chapter of Roma’s book is called ‘Dream’. Everyone dreams, literally, but not so many actually achieve them in real life. Roma managed to write her book which started as a spreadsheet and she’d previously designed key structural parts of the Shard, an architect’s dream come true.
Young people ever since Victorian times (and before) have wanted to fulfil their dreams. Civil and structural engineering is one very visible way of doing this – not just a small, invisible component of a household object, but a big, visible, in-your-face statement of how conceptual design can change the world physically for the better.
Where there was no hospital there now is one to treat the sick, where no bridge now one stands to cross a river.
Communities can flourish and in turn have an influence on their environment, gradually ensuring that it reflects shared ideals and aspirations, including beauty, sustainability and using an ethical approach.
John Wolfe Barry would have been happy with such an outcome.