Augustus Welby Northmore Pugin

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Noun1.Augustus Welby Northmore Pugin - English architect who played a prominent role in the 19th century revival of Gothic architecture (1812-1852)
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The present structure came after a catastrophic fire in 1834, with a proposal from Charles Barry, aided by A.W.N. Pugin, winning a competition to redesign the building.
This brought the firm into contact with such eminent architect designers as Sir Thomas Jackson, Edward Burne-Jones, A.W.N. Pugin and William De Morgan among others, while the plain green drinking glasses designed for William Morris's home Red House were also made at Whitefriars.
Arai, entre otros, con teoricos como Eugene Viollet le Duc, A.W.N. Pugin, John Ruskin, Adolf Loos, Le Corbusier.
'Gothic for ever'; A.W.N. Pugin, Lord Shrewsbury, and the rebuilding of Catholic England.
The Chapel of St Edward the Confessor was designed by Sebastian Pugin Powell (1866-1949, grandson of A.W.N. Pugin) and consecrated in 1933 as a memorial to Archbishop Ilsley (1838-1926).
A.W.N. Pugin True Principles of Christian or Pointed Architecture, 1853, first page.
His gentleness was partly innate and partly a consequence of the happiness he found in his second marriage, to the author Rosemary Hill, biographer of A.W.N. Pugin. It may also have reflected what he himself described as 'a sense of the eternally tragic', words that conclude his masterpiece, The Memorial to the Missing of the Somme (2006).
In this book, based on his dissertation, he presents the life and work of A.W.N. Pugin. Pugin (1812-1852) was the leader in reviving medieval methods and forms in nineteenth century stained glass.
The Collected Letters of A.W.N. Pugin. Volume Two: 1843 to 1845.
For A.W.N. Pugin, who was one of the well-springs of this approach to architecture, the problem was not very difficult: 'An architect should exhibit his skill by turning the difficulties which occur in raising an elevation from a convenient plan into so many picturesque beauties.'[1]
By starting the story in the 1730s (with a long glance backwards) and continuing into the early career of A.W.N. Pugin, Lindfield makes it plain that Gothic changed and developed through the period he discusses; he does not devote a single chapter to Strawberry Hill, but returns to it at key points in his narrative, tracing how Walpole's Gothic evolved from a repertoire of ornament derived from pattern books to a style based on a study of medieval precedent.