乔治亚哥特式：中世纪建筑、家具和室内装饰，1730-1840年（EPUB）

哥特式复兴，内容丰富，雄心勃勃，偶尔古怪，但视觉上令人兴奋，是英国对早期现代设计史的最大贡献之一，尤其是因为它在很大程度上违背了公认的品味：古典主义。学者们倾向于将格鲁吉亚哥特式视为“高”维多利亚哥特式的同质和不成熟的先驱，并将讨论集中在沃尔波尔的草莓山上。
相反，这本书揭示了这种风格是如何被富有想象力地反复修改，并融入18世纪流行的时尚：帕拉弟奥主义、洛可可主义、新古典主义和古典主义。它展示了如何在建筑师的控制下，从雷恩·托普金（Wren toPugin）、沃尔波尔（Walpole）和科廷汉姆（Cottingham）到家具设计，尤其是奇本代尔（Chippendale）、因斯（Ince）和梅休（Mayhew），哥特式主题的共同语言被应用到英国建筑、家具和室内。格鲁吉亚时期的英国充斥着哥特式风格，尽管品味仲裁者对其进行了激烈的批评。
自始至终，本书通过将哥特式复兴与格鲁吉亚人对中世纪历史的理解联系起来，重新构造了哥特式复兴的表达方式，并因此修改了我们对当时最具影响力但却被嘲讽的物质文化形式之一的解释。
Georgian Gothic: Medievalist Architecture, Furniture and Interiors, 1730-1840 (EPUB)
The Gothic Revival, rich, ambitious, occasionally eccentric, but nonetheless visually exciting, is one of Britain’s greatest contributions to early modern design history, not least because for the most part it contravened approvedtaste: Classicism. Scholars have tended to treat Georgian Gothic as an homogenous and immature precursor to “high” Victorian Gothic, and centred their discussion around Walpole’s Strawberry Hill.
This book, conversely, reveals how the style was imaginatively and repeatedly revised and incorporated into prevailing eighteenth-century fashions: Palladianism, Rococo, Neoclassicism, and antiquarianism. It shows how under the control of architects, from Wren toPugin, Walpole and Cottingham, and furniture designs, especially those of Chippendale, and Ince and Mayhew, a shared language of Gothic motifs was applied to British architecture, furniture and interiors. Georgian Britain was awash with Gothic forms, even if the arbiters of taste criticised it vehemently.
Throughout, the volume reframes the Gothic Revival’s expression by connecting it with Georgian understandings of the medieval past, and consequently revises our interpretation of one of the most influential, yet lampooned, forms of material culture at the time.

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