Architecture and Design
The original design by the architect E.C.Robins, developed in 1873, would have placed the tower and spire as an elevated structure above the centre of the new Congregational chapel. This was adapted in the final scheme by architects Paull and Bickerdike, who kept much of the original design and detailing of the building complex as a whole, but gave greater prominence to the Lincoln Tower. This became a stand-alone building with its own ground floor and entrances, though still integral to the complex. As more memorial funds were raised, the new architects, like E.C.Robins before them, added a lofty spire; raising the tower 200 feet high. The spectacular spire incorporated E.C.Robins' concept for an architectural version of 'stars and stripes' - the use of a polychromatic colour scheme of red and white stones.
On the Tower's north entrance, above the apex of a large archway, a stone was added bearing the title Lincoln Tower. Under the paved basement the coffin of preacher Rowland Hill was re-located from Surrey Chapel, with a tablet inset into the interior wall above. There was another tablet in memory of his successor, James Sherman, with a still larger tablet giving the name and purpose of the tower – to commemorate emancipation by the martyred Lincoln, the contribution of half the cost of the tower by American citizens, and as a pledge of international brotherhood.
The completed tower, built of Kentish Rag stone outside and Bath stone within, and modelled on a Gothic style, was widely regarded at the time as one of the best examples of steeple and tower architecture in south-central London.
Read more about this topic: Lincoln Memorial Tower
Famous quotes containing the words architecture and, architecture and/or design:
“The two elements the traveler first captures in the big city are extrahuman architecture and furious rhythm. Geometry and anguish. At first glance, the rhythm may be confused with gaiety, but when you look more closely at the mechanism of social life and the painful slavery of both men and machines, you see that it is nothing but a kind of typical, empty anguish that makes even crime and gangs forgivable means of escape.”
—Federico García Lorca (1898–1936)
“I don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.”
—Roy Lichtenstein (b. 1923)
“For I choose that my remembrances of him should be pleasing, affecting, religious. I will love him as a glorified friend, after the free way of friendship, and not pay him a stiff sign of respect, as men do to those whom they fear. A passage read from his discourses, a moving provocation to works like his, any act or meeting which tends to awaken a pure thought, a flow of love, an original design of virtue, I call a worthy, a true commemoration.”
—Ralph Waldo Emerson (1803–1882)