Between the Lines
Every piece of architecture has their book in some way. The Central Criminal Court of England and Wales, otherwise known as The Old Bailey, uses many and adorns its architecture with text, aside of just biblical reference - "The law of the wise is a fountain of life". It may have disowned the public spectacle of the hanging’s of its predecessor, Newgate Gaol, but the symbolic structure of this work also looks closely at the language of Tarot; the unbound book. The central entrance, that draws heavily on the significance of Piranesi’s, The Giant Wheel, from Carceri d'invenzioni (Imaginary Prisons), is surmounted by the words “defend the children of the poor & punish the wrongdoer”, and locates the position of The Hanged Man (XII), the twelfth trump of the Major Arcana. It suggests ultimate surrender, sacrifice, or being suspended in time. Upon Mountford’s cupola stands Pomeroy’s gilt figure; a 12 foot lady of Justice that is otherwise not blindfolded. Justice is the VIII card of the Tarot deck (although changed by the Order of the Golden Dawn to switch with Strength (XI) due to making them fit better with astrological correspondences) and indicates that the fairest decision will be made; justice is the sword that cuts through a situation, and will not be swayed by outer beauty when deciding what is fair and just. Between the two, The Courtrooms, that correspond to Piranesi’s Giant Wheel, plays upon the tenth card of the Major Arcana, The Wheel of Fortune (X), that when this card is summoned leads to an element of change in the querent's life, such change being in station, position or fortune. From this perspective, it places any interloper into the realms of chance! "London shall have all its ancient rights".
Every piece of architecture has their book in some way. The Central Criminal Court of England and Wales, otherwise known as The Old Bailey, uses many and adorns its architecture with text, aside of just biblical reference - "The law of the wise is a fountain of life". It may have disowned the public spectacle of the hanging’s of its predecessor, Newgate Gaol, but the symbolic structure of this work also looks closely at the language of Tarot; the unbound book. The central entrance, that draws heavily on the significance of Piranesi’s, The Giant Wheel, from Carceri d'invenzioni (Imaginary Prisons), is surmounted by the words “defend the children of the poor & punish the wrongdoer”, and locates the position of The Hanged Man (XII), the twelfth trump of the Major Arcana. It suggests ultimate surrender, sacrifice, or being suspended in time. Upon Mountford’s cupola stands Pomeroy’s gilt figure; a 12 foot lady of Justice that is otherwise not blindfolded. Justice is the VIII card of the Tarot deck (although changed by the Order of the Golden Dawn to switch with Strength (XI) due to making them fit better with astrological correspondences) and indicates that the fairest decision will be made; justice is the sword that cuts through a situation, and will not be swayed by outer beauty when deciding what is fair and just. Between the two, The Courtrooms, that correspond to Piranesi’s Giant Wheel, plays upon the tenth card of the Major Arcana, The Wheel of Fortune (X), that when this card is summoned leads to an element of change in the querent's life, such change being in station, position or fortune. From this perspective, it places any interloper into the realms of chance! "London shall have all its ancient rights".
The Life of Pi
It is remarkable that Piranesi has built only one building; exemplary restraint for an architect that drew so prolifically. Renowned not just for his renderings of prisons, he was able to keenly respond to the conundrum that occupies all that practice architecture. Like all publications, they draw influence to the inquiring minds and occupy a space in architectural reference; as ideas; as buildings. They are the substance that makes architecture both political and powerful. Piranesi has engendered the very root in the representation of the impossible, while through our allegiance we attempt to bring them to life.
It is remarkable that Piranesi has built only one building; exemplary restraint for an architect that drew so prolifically. Renowned not just for his renderings of prisons, he was able to keenly respond to the conundrum that occupies all that practice architecture. Like all publications, they draw influence to the inquiring minds and occupy a space in architectural reference; as ideas; as buildings. They are the substance that makes architecture both political and powerful. Piranesi has engendered the very root in the representation of the impossible, while through our allegiance we attempt to bring them to life.
The Great Hall, The Old Bailey, London
Edward William Mountford was both the uncle to my grandfather but also the architect of The Old Bailey. My grandfather was later to apprentice with him and then make his own practice. I have inherited his drawing instruments, which seem a bit redundant now. To honour this familial state of architecture I have decided to bring the building into contemporary life by extrapolating particular views from available photographs that interest me. Notably I have had my attention drawn to the paving pattern of The Great Hall.
Edward William Mountford was both the uncle to my grandfather but also the architect of The Old Bailey. My grandfather was later to apprentice with him and then make his own practice. I have inherited his drawing instruments, which seem a bit redundant now. To honour this familial state of architecture I have decided to bring the building into contemporary life by extrapolating particular views from available photographs that interest me. Notably I have had my attention drawn to the paving pattern of The Great Hall.
