Chapter 3 examines how the open-plan type was adopted in and adapted to the increasingly prosperous (and sometimes increasingly populous) parish churches of larger communities across fifteenth- and sixteenth-century England. Examples include a tightly connected group of churches in the city of Norwich as well as clusters of related buildings in York and London.

Chapter 2 investigates how, beginning in the fourteenth century, the emergence of the open-plan parish church afforded residents of rapidly expanding municipalities the means to build ostentatious places of worship that maximized space, minimized cost, and expressed their ambitions as emerging social agents. Case-study locales include Gorleston-on-Sea (Norfolk), North Walsham (Norfolk), Beccles (Suffolk), King’s Lynn (Norfolk), Dartmouth (Devon), St Ives (Cornwall), and Oldham (Lancashire).

Chapter 6 investigates the ways in which new approaches to parish church design augmented the spatial, visual, and aural experience of their resident communities—with special attention to the roles of boundary-marking installations such as screens, seats, and stained-glass windows. Items of special interest include screens at Woodbridge (Suffolk) and Totnes (Devon); seats at King’s Lynn (Norfolk) and Altarnun (Cornwall); stained glass in various locations across Norfolk, Suffolk, and Cornwall; and the spectacular suite of timber furnishings preserved at Southwold (Suffolk).

Chapter 5 moves from the municipality to the manor to explore how the open-plan parish church format expedited the exercise of lordly provision, piety, and power in an era of political tumult. Case-study locales include Scottow (Norfolk), Nayland (Suffolk), Long Melford (Suffolk), Denston (Suffolk), Loddon (Norfolk), Shelton (Norfolk), Salthouse (Norfolk), Middleton (Lancashire), Sefton (Lancashire), and a collection of manors associated with the Stanley family in northeastern Wales.

Chapter 4 examines how the open-plan type was adopted in and adapted to the increasingly populous (and sometimes increasingly prosperous) parish churches of smaller communities across fifteenth- and sixteenth-century England. Examples include a tightly connected group of churches in the county of Suffolk as well as clusters of related buildings in Cheshire, Lancashire, Devon, and Cornwall.

The conclusion argues, on the basis of the evidence presented throughout the book, that the open-plan parish church represents a special achievement in several respects: spatially (qua the English parish church), socially (qua the English parish church), and architecturally (as a manifestation of collaborative Gothic). It closes with a survey of the legacy of the type in the anglophone world.

This chapter offers an account of the concept of technē in classical Greek culture, with particular attention to its social, epistemological, and pedagogical dimensions. It draws on literary, documentary, and art historical sources to reconstruct technē as a lifelong, economically embedded profession characterized by specialization, teachability, and use of rationality. Four core aspects are emphasized: (1) the low social status of dēmiourgoi; (2) the close relationship between technē and teaching, including apprenticeship; (3) the necessity of specialization, with practitioners typically mastering only one trade; and (4) the rationality of technē, evidenced through causal reasoning, written protocols, and the use of mathematics. The chapter also explores the contested status of elite practices – such as warfare, poetry, and rhetoric – as technai, and the sophists’ self-presentation as professionals. By situating technē within the lived realities of ancient Greek labor and education, the chapter sets the stage for Plato’s philosophical use of the concept.

The following chapter examines the reception of Byzantium through the lenses of the Church and Orthodoxy. The conventional term ‘Byzantium’ — though currently disputed — remains the most widely used name for the Eastern Roman Empire. Byzantine reception surpasses mere texts; it encompasses Byzantine literature, art, culture and the liturgical tradition. This brief survey opens with a general discussion on Byzantine reception up to the modern era, offering several examples that illustrate how Orthodoxy and the Church, broadly defined, were (re)appropriated in the period following the Fall of Constantinople. It then delves into aspects of Byzantium’s reception intricately tied to the concept of the Church, encompassing both architectural structures and artifacts, as well as religious identities and traditions.

The inclusion of human rights into architectural education has yet to be considered, despite the profound impact of the built environment on individuals and their cultures. This chapter illuminates the essential need to recognize the dual capacity of architecture to either empower or impede citizens’ rights. The argument for the inclusion of human rights in the university curriculum begins with a case study of fourth-year architecture students collaborating with a vulnerable community in Bangkok. That experience led to an ongoing investigation of the relationship between rights and the built environment. In turn, this revealed significant gaps within the current curriculum that overlook these crucial topics. The chapter advocates for educational and institutional reforms to establish a direct connection between architectural practice and human rights advocacy. It also calls for a paradigm shift within a profession that has historically distanced itself from vernacular practices and community-focused design.

Written over a period of five decades (1973–2013), Peter Maxwell Davies’s ten symphonies occupy a central position in his output. Having established a reputation in the 1960s as the ‘enfant terrible’ of British music, chiefly as a result of a number of radical music-theatre works, the appearance of a ‘Symphony’ in the following decade surprised critics. Yet Davies was long attracted to the abstract qualities of the genre – an interest deepened by his move to Hoy, Orkney, in the early 1970s. This chapter considers how landscape, place and the natural world, issues of form and genre, the symphonic legacy of Sibelius and Mahler, and architecture – especially the works of Brunelleschi and Borromini – shaped these symphonies. It argues that acknowledging and appreciating the symphonies from these multiple musical and extra-musical perspectives can illuminate the richness of the composer’s symphonic imagination.

An analysis of households and communities in the lower Segura and Vinalopó river valleys between the eighth and fifth centuries BCE provides an in-depth understanding of interactions between Indigenous and Phoenician groups and how people deployed various techniques for the spatial production of locality. In a context of intensive contacts between people of diverse origins, the production of places, economies and rituals of the households and their integration in wider communities and regional networks are considered. Particular attention is given to the role of settlements, neighbourhoods and houses as locales for materializing and structuring social relations within and among households.

The first decade of the nineteenth century was a crucial period in the development of Haiti and Black identity in the Caribbean. This chapter focuses on the first half of the decade: L’Ouverture’s reign during the abolition of slavery, his capture and exile, and Dessalines’s declaration of Haitian independence. I trace evolving attitudes towards architectural destruction and renovation, focusing on three stages: uncertainty about violence; creolization, mimicry, and renovation; and acceptance of the obliteration of the architectural archive as an anti-colonial act. Drawing on texts by Romantic authors including John Thelwall, William Wordsworth, Marcus Rainsford, and Leonora Sansay, I recover how Romantic ideology and revolutionary practice were not merely transmitted across the Atlantic then passively accepted in the Caribbean. Haitians actively adapted and complicated Romantic and revolutionary ideology, using the common tropes of the period to reimagine their place in the world and assert their rejection of objectification and colonialism