Does the way in which buildings are looked at, and made sense of, change over the course of time? How can we find out about this? By looking at a selection of travel writings spanning four centuries, Anne Hultzsch suggests that it is language, the description of architecture, which offers answers to such questions. The words authors use to transcribe what they see for the reader to re-imagine offer glimpses at modes of perception specific to one moment, place and person. Hultzsch constructs an intriguing patchwork of local and often fragmentary narratives discussing texts as diverse as the 17th-century diary of John Evelyn, Daniel Defoe's Robinson Crusoe (1719) and an 1855 art guide by Swiss art historian Jacob Burckhardt. Further authors considered include 17th-century collector John Bargrave, 18th-century novelist Tobias Smollett, poet Johann Wolfgang von Goethe, critic John Ruskin as well as the 20th-century architectural historian Nikolaus Pevsner. Anne Hultzsch teaches at the Bartlett School of Architecture, University College London.

Does the way in which buildings are looked at, and made sense of, change over the course of time? How can we find out about this? By looking at a selection of travel writings spanning four centuries, Anne Hultzsch suggests that it is language, the description of architecture, which offers answers to such questions. The words authors use to transcribe what they see for the reader to re-imagine offer glimpses at modes of perception specific to one moment, place and person. Hultzsch constructs an intriguing patchwork of local and often fragmentary narratives discussing texts as diverse as the 17th-century diary of John Evelyn, Daniel Defoe's Robinson Crusoe (1719) and an 1855 art guide by Swiss art historian Jacob Burckhardt. Further authors considered include 17th-century collector John Bargrave, 18th-century novelist Tobias Smollett, poet Johann Wolfgang von Goethe, critic John Ruskin as well as the 20th-century architectural historian Nikolaus Pevsner. Anne Hultzsch teaches at the Bartlett School of Architecture, University College London.

Since the era of pre-industrial religious pilgrimages, architecture has beckoned travellers. This book charts the relationship, and even the entanglement, between architecture and tourism. It reveals how architecture is always tied to its physical site, yet is transportable in our imagination--and into the virtual spheres of social media and armchair travel. Illustrated with a range of studies of key buildings from history and the present-day, the book engagingly sheds light on topics such as the culture of ruins, the evolution of how tourists capture images of places, the rise of the designer museum, and architecture on television, film, and in other media. It asks why architectural monuments and buildings attract and compel us to visit, why we feel the need to understand cities through architectural sites such as museums, historic sites, and monuments, and how national identity is galvanised through its architecture and tourism. Sightseeing is, whether virtual or actual, site-seeing.

The Printed and the Built explores the intricate relationship between architecture and printed media in the fast-changing nineteenth century. Publication history is a rapidly expanding scholarly field which has profoundly influenced architectural history in recent years. Yet, while groundbreaking work has been done on architecture and printing in the Renaissance, the Enlightenment, and the twentieth century, the nineteenth century has received little attention. This is the omission that The Printed and the Built seeks to address, thus filling a significant gap in the understanding of architecture's cultural history. Lavishly illustrated with colourful and eclectic visual material, from panoramas to printed ephemera, adverts, penny magazines, early photography, and even crime reportage, The Printed and the Built consists of five in-depth thematic essays accompanied by 25 short pieces, each examining a particular printed form. Altogether, they illustrate how new genres communicated architecture to a mass audience, setting the stage for the modern architectural era.

Over the course of the long 18th century, many of England's grandest country houses became known for displaying noteworthy architecture and design, large collections of sculptures and paintings, and expansive landscape gardens and parks. Although these houses continued to function as residences and spaces of elite retreat, they had powerful public identities: increasingly accessible to tourists and extensively described by travel writers, they began to be celebrated as sites of great importance to national culture. This book examines how these identities emerged, repositioning the importance of country houses in 18th-century Britain and exploring what it took to turn them into tourist attractions. Drawing on travel books, guidebooks, and dozens of tourists' diaries and letters, it explores what it meant to tour country houses such as Blenheim Palace, Chatsworth, Wilton, Kedleston and Burghley in the tumultuous 1700s. It also questions the legacies of these early tourists: both as a critical cultural practice in the 18th century and an extraordinary and controversial influence in British culture today, country-house tourism is a phenomenon that demands investigation.

As many places around the world confront issues of globalization, migration and postcoloniality, travel writing has become a serious genre of study, reflecting some of the greatest concerns of our time. Encompassing forms as diverse as field journals, investigative reports, guidebooks, memoirs, comic sketches and lyrical reveries; travel writing is now a crucial focus for discussion across many subjects within the humanities and social sciences. An ideal starting point for beginners, but also offering new perspectives for those familiar with the field, The Routledge Companion to Travel Writing examines: Key debates within the field, including postcolonial studies, gender, sexuality and visual culture Historical and cultural contexts, tracing the evolution of travel writing across time and over cultures Different styles, modes and themes of travel writing, from pilgrimage to tourism Imagined geographies, and the relationship between travel writing and the social, ideological and occasionally fictional constructs through which we view the different regions of the world. Covering all of the major topics and debates, this is an essential overview of the field, which will also encourage new and exciting directions for study. Contributors: Simon Bainbridge, Anthony Bale, Shobhana Bhattacharji, Dúnlaith Bird, Elizabeth A. Bohls, Wendy Bracewell, Kylie Cardell, Daniel Carey, Janice Cavell, Simon Cooke, Matthew Day, Kate Douglas, Justin D. Edwards, David Farley, Charles Forsdick, Corinne Fowler, Laura E. Franey, Rune Graulund, Justine Greenwood, James M. Hargett, Jennifer Hayward, Eva Johanna Holmberg, Graham Huggan, William Hutton, Robin Jarvis, Tabish Khair, Zoë Kinsley, Barbara Korte, Julia Kuehn, Scott Laderman, Claire Lindsay, Churnjeet Mahn, Nabil Matar, Steve Mentz, Laura Nenzi, Aedín Ní Loingsigh, Manfred Pfister, Susan L. Roberson, Paul Smethurst, Carl Thompson, C.W. Thompson, Margaret Topping, Richard White, Gregory Woods.

With its inclusion of original essays challenging the view of travel writing as a Eurocentric genre, this book will stand as a benchmark study of future inquiries in the field. It will revitalize the critical debate, sparking a much needed rethinking of a vibrant and highly popular but also volatile genre that has seen many changes in recent years.