The Seven Lamps of Architecture

controversial ideas about his faith.Major changes in society, such as the abolition of slavery and the industrial revolutions, focused Ruskin on industrial capitalism and the ‘social economy.‘ Praised by Ghandi(Gandhi, 1993)and widely renowned, he wasconsidered a social reformer by writing about man ’s need to return to a simpler time, with direct reference to the industrial revolution, and a need to live with consideration for your fellow man. Interestingly,an element of morality and spiritualityremains throughout Ruskin’s work, even though he lost his faith at forty. Thiscomplementshis views on an idealistic society suggestinghis moralsrun deeper than what he considered to be shallow faith. A choice was made in Ruskinfor this extended analysis, for although not an architect himself, he had, especially after World War 2, a strong influence over the pioneers of modern architecture, such as Charles Voysey and Frank Lloyd Wright. (Landow, 2000)

THE SEVEN LAMPS OF ARCHITECTURE

In 1849, Ruskin offered a moral code he considered public architecture should follow. Formed of seven demands that Ruskin aptly named ‘Lamps’ in reference to Britain’s industrial revolution forming these criticisms as a beacon for Ruskin to lead architecture into the light from the dark age. Ruskin’ s first tentative steps into architectural criticism had a mixed response, for it seemed outrageous that he should be worthy of judging another’s work, in a field which he had little experience in. Nonetheless, there is evidence of the Ruskinian style being adopted in William Butterfield’s All Saints, Margaret Street Church. Construction details were confirmed by the publication of Ruskin’s book in May, but by August the plans had been revised to incorporatethe following, very specific‘Lamps’.(Landow, 2011)

The first, the ‘Lamp of Sacrifice,’ deals with the premise that architecture, most specifically churches, but essentiallyall constructions, should serve as proof of the communities’dedication to God. The second, the ‘Lamp of Truth’, considers the honesty of a building, with handcrafted materials displayed naturally, so the observer is aware of the construction process. The ‘Lamp of Power,’ has ideas about the massing of buildings and implementing nature to produce impressive structures that consider the physical effort of construction. The ‘Lamp of Beauty’ aspires towards divinity being expressed through embellishments and decoration of the buildings. The ‘Lamp of Life,’presents the idea of hand crafted architecture, and the enjoyment of the masons and artists involved inconstruction. Similarly,‘The Lamp of Memory,’introduces the idea that buildings should respect local culture and the surrounding community. The final