This study proposes Chatsworth House as the first Whig country house built by William Cavendish, the 4th Earl of Devonshire. The earl was a leading Whig who became one of the Immortal Seven responsible for bringing William of Orange and Mary II to the throne of England through the Glorious Revolution. His stately home, Chatsworth House was redesigned by William Talman in the Baroque style around and after the Revolution at his political apogee and has retained its spatial character ever since. Despite the symbolic and historic importance of the house, research on it is relatively scarce. It has been conducted commonly relying either on the social and economic power of the Earl or on the partial activities of the individual artists who were engaged in the remodeling of the house. Instead, this paper explores the house as an entity that presents the Earl’s political vision and aesthetic. It examines the Baroque quality from Talman’s design to Quadraturas that shaped the house as “the first flaunting symbol in the architecture of territorial Whiggery” in the words of John Summerson. Ultimately, this study aims to lay the foundation for promoting the studies of art and architectural culture in the age of English Baroque.
In this paper, the royal residence was divided into a mansion in the capital, a house built in the name of memorial in a burial place, and a mansion on a farm, and examined the character and structure of each house. The large and splendid mansions in the capital were issued by the state, and the laws restricting the scale of construction were avoided or violated from the time they were enacted, and lost its effect around the time of King Jungjong. In the early days of the Joseon Dynasty, new houses were built, but gradually it became customary to buy existing houses and repair and expand them. Houses built near tombs were nominally memorial facilities, but they had the structure of houses and were owned and lived in by descendants for generations. The houses built on the site of farms functioned as both farm management office and villas, and were retained by royal descendants even after their royal privileges expired. The classification of the types and characteristics of royal residences carried out in this paper can serve as a reference for analyzing the existing royal buildings, which are collectively referred to as 'Royal houses(Gung-jip)'.
This study provides a micro-level analysis of the changes in Cheongnyong-dong, aiming to identify the interactions between function and form within the historical flow of urban architecture. Focusing on the characteristics of urban architecture in Cheongnyong-dong, this research particularly examines the transformations in layout and façade from the 1970s to the 1990s. By analyzing materials and windows of both the front and rear façades, as well as the differences between the first and upper floors, the study sheds light on the evolving patterns of urban architecture. From the 1970s to the 1990s, residential buildings accelerated changes in urban architecture by reinforcing unity in materials and creating more volumetric façades. In contrast, neighborhood facilities and mixed-use buildings displayed a clearer distinction between commercial and residential functions, with pronounced differences in material usage between the first and upper floors, as well as between the front and rear façades. This implies that while residential buildings change based on plots, commercial and mixed-use buildings transform according to their functions, resulting in varying speeds of physical change.