ANALYSIS OF THE HOUSE OF PARLIAMENT DESIGN

Analysis of the House of Parliament Design



Abstract

The assembly of the joined Kingdom of large Britain and to the north Ireland is the supreme legislative body in the United Kingdom and British overseas territories. One of the most recognised structures in the world, the castle of Westminster is obliged its spectacular Gothic architecture to the 19th-century architect Sir Charles Barry. Now Grade I recorded, and part of an UNESCO World Heritage Site, the castle comprises a fascinating mixture of both very old and modern structures, and dwellings an iconic assemblage of furnishings, archives and works of art.

Table Of Content

ABSTRACTII

CHAPTER 01: INTRODUCTION1

Interior design1

Construction1

Problem Statement2

Rationale2

Aims and Objectives3

Limitation of the Study3

Ethical Concerns4

Reliability5

Validity5

CHAPTER 02: LITERATURE REVIEW7

Barry and Pugin11

Controversy11

CHAPTER 03: METHODOLOGY13

Research Design13

Case Study13

Data Analysis14

CHAPTER 04: ANALYSIS AND DISCUSSION16

Exterior Design16

River front of the castle of Westminster16

Stonework17

Towers17

Grounds20

Interior20

Layout21

Norman Porch22

Queen's Robing Room22

Royal Gallery23

Prince's Chamber23

Lords Chamber24

Peers' Lobby25

CHAPTER 05: CONCLUSION27

REFERENCES29

WEB SOURCES32

CHAPTER 01: INTRODUCTION

The research will be focuseed on “Why gothic was thought to be an appropriate style for the national parliament?”

After the blaze of 1834, the two houses of Parliament were homeless, and the question of how and where to relocate assembly became a priority. Although some of the old palace stayed, by 1835 there was a general agreement that the opening for a brand new construction was too good to miss. ARoyal charge was set up, and an open architectural competition was determined upon. It was also determined that the style of the new palace should be Gothic (or Elizabethan), and that it should be rebuilt upon the original Westminster site. 'Westminster was ... the home of British politics, with ancient royal and Christian associations.' The interest in European medieval culture, now loosely described as the Gothic Revival, had been gathering pace since the mid-18th century, and by the early 19th century Britain's medieval heritage was greatly admired.

It is perhaps tough for us to realise now, but at this time methods of architecture were considered as political. During the long, nearly relentless conflicts with France from 1792 to 1815, Gothic came to be glimpsed as Britain's 'national' method="color: Red;">method - method="color: Red;">method="color: Red;">mostly in opposition to the method="color: Red;">method="color: Red;">academic method="color: Red;">method (derived from very old Greece and Rome) affiliated with France throughout the French Revolution and under Napoleon Bonaparte.

Gothic was hought to have began in Britain, and had method="color: Red;">devout resonance as the method="color: Red;">method of the method="color: Red;">method="color: Red;">large British medieval cathedrals. Westminster was furthermore glimpsed as the dwelling of British politics, with ancient regal and Christian associations. For all these causes, Gothic was considered to be the most appropriate architectural style. 'For many, the survival of Westminster Hall was nothing short of a miracle ...' The choice of the original site was undoubtedly due to the fact that the fire had focussed people's minds on the importance of historic places, such as Westminster, which had direct physical links to the nation's past. For many, the survival of Westminster Hall was not anything short of a miracle, and The Times reported that the ...