Designing the Seaside: Architecture, Society and Nature by Fred Gray

By Fred Gray

In Alfred Hitchcock’s To trap a Thief , a seashore inn used to be the surroundings for thievery and intrigue. Fred Astaire and Ginger Rogers tap-danced their technique to repute at a Brighton lodge in The homosexual Divorcee . The seashore lodge has continuously held a different fascination, a spot of containment and relaxation that has a distinct shape within the actual panorama: towering resorts, shop-lined boardwalks, and sprawling seashores. Fred grey delves into the background of seashore structure the following in Designing the beach , writing the wealthy and foreign tale of the seashore resort’s varied buildings from the eighteenth century via this day. grey is not just within the actual buildings but in addition the cultural mores they represent—the “yearly holiday,” and our attitudes approximately rest. The coastal panorama has been reworked by way of this geography of rest, and grey considers the actual and cultural shifts that happened whilst retailers, boardwalks, and resorts buried sand dunes and marshes underneath their beams. He examines the layout strategies that went into growing the various constructions and areas inside of a beach hotel, giving complete realization to ephemeral buildings comparable to pavilions and summer season reward outlets in addition to the trademark lodge constructions, fairgrounds, and open areas. Designing the seashore additionally unearths how occasions equivalent to good looks pageants made seashore lodges into websites of discussion over conflicted problems with sexuality and morality. Drawing on a various array of ancient material—photographs, guidebooks, postcards, and posters—Fred grey bargains a desirable account of the cultural and social symbolism of the beach inn and its position within the sleek panorama. (20060721)

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The overcrowded seaside viewed by a 19th-century Punch cartoonist. ‘The Sands, Ramsgate’, from Twelve Views of Ramsgate (London, c. 1850s), showing the railway station situated by the beach. The invasion of the seaside by working-class people also took place in North America. ’19 Coney Island became the iconic early twentieth-century amusement resort and the site of a new built form for pleasure and entertainment, the fixed amusement fair. Copied in many large working-class resorts on both sides of the Atlantic, amusement fairs were usually on or close to the seafront and, in the case of the American and British amusement piers, even built above the sea.

The bather as a passive recipient of a medical prescription was transformed into the swimmer as an active participant enjoying nature. 40 From the late nineteenth century and in response to changing attitudes to nature, there were also significant changes in how holidaymakers dressed and behaved on the beach. Although there Such manoeuvrings were a prelude to other significant developments. From the late nineteenth century the sun emerged first as an accompaniment to sea air and then, by the 1930s, as the dominant natural force shaping what people searched for, did and built at the seaside.

Usually it refers to the practice . . ’52 The cult of the sun had concrete results for the design of the seaside in Britain and elsewhere in Europe. A new seaside architecture developed that included sun terraces, The distractions of the beach. c. 1930. N AT U R E A N D S E A S I D E A R C H I T E C T U R E 33 communal beach bathing stations, solariums, holiday camps and beach huts. Seafronts were remade with new parks and gardens designed for pleasure, sport and children in mind. Most iconic of all, the inter-war open-air lido reflected both the coming of the sun and the flowering of swimming.

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