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Abingdon, Routledge, 2007, p. 110.

24 Anon , ‘ A Programm e for th e Cit y o f London’ , The Architectural Review 97 , no . 582 , Jun e (1945) ; Nikolau s Pevsner , ‘Visual Plannin g and the City of London’, The Architectural Association Journal LXI , no . 69 9 (1945); Nikolau s Pevsner , ‘Visua l Planning and the Cit y o f London’ , The Architects’ Journal 102 , no . 265 5 (1945).

25 Gordon Cullen, Concise Townscape, Oxford, Architectural Press, 1961, p. 17-19.

26 Camillo Sitte, City Planning According to Artistic Principles, George R. Collins and Christiane Crasemann Collins, New York, Dover Publications, INC, 1986, p.146, 151-152.

27 Camillo Sitte, City Planning According to Artistic Principles, George R. Collins and Christiane Crasemann Collins, New York, Dover Publications, INC, 1986, p. 160

28 Camillo Sitte, City Planning According to Artistic Principles, George R. Collins and Christiane Crasemann Collins, New York, Dover Publications, INC, 1986, p. 162.

29 Camillo Sitte, City Planning According to Artistic Principles, George R. Collins and Christiane Crasemann Collins, New York, Dover Publications, INC, 1986, p. 192193.

30 Sydney R. Jones, London triumphant, London, Studio Publications, 1942, p. 72.

31 Camillo Sitte, City Planning According to Artistic Principles, George R. Collins and Christiane Crasemann Collins, New York, Dover Publications, INC, 1986, p. 151, 154.

32 Humphry Repton, The Landscape Gardening and Landscape Architecture of the Late Humphry Repton Esq., ed. John Claudius Loudon (London: 1840), p.601.

33 Camillo Sitte, City Planning According to Artistic Principles, George R. Collins and Christiane Crasemann Collins, New York, Dover Publications, INC, 1986, p. 177.

34 Gordon Cullen, Concise Townscape, Oxford, Architectural Press, 1961, p. 25, 33, 69.

35 Camillo Sitte, City Planning According to Artistic Principles, George R. Collins and

C H A P T E R II I R R E G U L A R I T Y

Figure 12: Chaper II Location Map by Author, 2022. Figure 13: narrow streets in The City of London by Author, 2021. Figure 14: Gray’s Inn Hall by Sydney R. Jones, 1933. Figure 15: Gray’s Inn Square and Hall by Sydney R. Jones, 1933. Figure 16: South Square Gray’s Inn by Sydney R. Jones ,1933. Figure 17: Gray’s Inn Hall, Historic Map(1924-1951). Figure 18: Images depiting approach to Gray’s Inn Hall, from Northern entrance by Author, 2021. Figure 19: Diagrams illustrating approach to Gray’s Inn Square from West by Author, 2022. Figure 20: Gray’s Inn Hall, Historic Map(1924-1951) by Author, 2022. Figure 21: New Court from Fountain Court, Middle Temple, 1930. Figure 22: Lombard Street by Sydney R. Jones, 1922. Figure 23: Lombard Street Historical Map by Author, (1924-1951), 2022.

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D R A W I N G VIII

D R A W I N G IX

C H A P T E R III M O V E M E N T

The context in which the picturesque city is designed and experienced is one where the user moves throughout the space and it is this gradual movement from place to place that is intrinsically linked to the experience of a picturesque place.

The action of moving through space in a varied context, where not only everything within the user’s view has significance, but also that which has already receded out of view, or is yet to arrive in view is important. As we discussed in the last chapter, the connection to planning and layout, from one space to the next within the picturesque, means there is a link to ‘movement’, as this is the only way we can partake in this experience. However, here lies the contradiction and main source of confusion, how is it possible to convey movement in a static 2d picture? I will begin by aiming to articulate what this means and how this can be conveyed and understood in relation to S.R.J’s work.

Architects use space in the same way that a sculptor uses clay,35 movement is a privilege of space, and there are different possibilities with different amounts of space. For example, a grand plaza, a hall, or a small room, all have different possibilities, some of which are better suited to particular activities than their counterparts, the function of a piazza would not suit the needs of a bedroom as well as a small intimately lit room would, therefore it is not necessarily true that the larger or grander the space the better. The possibilities are what have value, they are what S.R.J’S drawings evoke by ways of imagination. In a way, the quality of a space (scale, atmosphere, etc). can be represented and understood by the architecture, which in turn represents factors such as value. Within LT it is clear that architecture’s true value lies in its ability to frame human life and facilitate a variety of activities where you could imagine yourself.

“Architecture imitates us in our capacity for movement, but not our actual passage through space, rather, the gestures through which we give movement a communicative and affective form.”36

Heinrich Wölfflin was a Swiss art historian and educator who developed concepts surrounding movement and form in relation to Baroque architecture.

His work suggests that ‘semblance’, which is when an entity resembles the qualities of another entity, in a way is a movement to that which is being represented, a nod to it if you like, what Walter Benjamin calls aura, the nonsensuous representation of something37

It is this process of identification that must take place in the 2d drawing of a 3d place. Where movement, as a fundamental part of the picturesque human experience and a dynamic/animated action must be expressed in a static image.

“Wölfflin describes his anthropopathic theory in the following way: (1) Every emotion has an expression, the physical manifestation of the mental act; (2) when we imitate the expression of the emotion, we also experience this emotion; (3) we then unconsciously transfer our emotional response to the person or object.”38

In the same way that a person might physically attempt to illustrate the actions of the thing they are trying to describe e.g. miming driving, when they do not have the ability to speak or hear, through the process of gesturing a turning, that process of representation is called signification and is the task drawings have when signifying the action of movement.62

Buildings are designed for the proportions of the human body meaning a static entity, but they also have to enable the activities for which they were designed, therefore it also has to facilitate the action of movement, a building’s shape is a consequence of what it is designed for, thus it is an expression of that. For example, a glove could be seen as an expression of a hand, or a shoe could be an expression of a foot and in that same way, a building, despite not being a literal concave mould of the human figure, or as robust as a glove or a shoe, still has the means to facilitate movement depending on the quality of the space. Thus a building is an expression of movement. I am looking at S.R.J’s work in order to understand how the buildings / streetscape within are shown to facilitate movement within the drawing.63 At the time of the publication of LT, this fundamental part of being human that we experience was being challenged by the war. As is the case within previous chapters that we have discussed, S.R.J aims to present London as a place worth preserving by highlighting the qualities of London that are cherished and could potentially be lost.

D RA W I N G VII

Lloyds Leadenhall street was a preliminary sketch for etching of the then-new building of corporate underwriters.64 The preliminary sketch shows the elevation of the building; vehicles appear in the foreground at the bottom of the page on either side of the frame. Immediately behind this are gestures of people that are clustered together at the entrance of Lloyds. Finally, the background and majority of the sketch’s composition comprise the Lloyds building elevation. Throughout the drawing, the linework is loose but suggestive and the gestures of human figures appear to be moving upward into the building. At the same time, the elevation has depth where the building elevation steps back. The drawing has a rough sketch effect, where the form of details is achieved along the edges of the drawing through gestural hatches. Detailed areas of the drawing are drawn in a thicker pencil.

The road at the bottom of the page is subtly suggested by markings that ground the vehicles on them, but together they imply movement as they appear reflective of the cars on top of them. Firstly, as an archetype, the road and the car are clear signifiers of transportation, but the way they are drawn is lightly blurred, maybe due to the fact this was a preliminary sketch but actually has a quality of motion to it. The placement of them on the page suggests they are appearing in motion along the road, across the front of the picture as the car on the right is partially out of the frame of view, while the left side of the page also displays a larger vehicle that is just coming into the frame of view. This is the most notable sign of movement in the drawing in contrast to the static elevation of the Lloyds building and effectively illustrates a dynamic scene. People in the centre of the drawing are very abstractly drawn, which is fitting to the level of detail in the drawing and although they do not have the same quality of motion as the vehicles, their abstract nature implies movement as well as the distance from the drawings vantage point. However, the positioning of them within the drawing makes it clear that there is a progression into the building on the other side of the road from where the drawing was taken. This is an excellent example illustrating how movement can be implied and understood in a 2d picture.