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Rough and Smooth Sands: Social Thresholds and Seaside Style

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Rough and Smooth Sands: Social Thresholds and Seaside Style. / Carruthers, Jo.
Sandscapes: Writing the British Seaside . ed. / Jo Carruthers; Nour Dakkak. New York: Palgrave Macmillan, 2020. p. 125-139.

Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSN › Chapter

Harvard

Carruthers, J 2020, Rough and Smooth Sands: Social Thresholds and Seaside Style. in J Carruthers & N Dakkak (eds), Sandscapes: Writing the British Seaside . Palgrave Macmillan, New York, pp. 125-139. https://doi.org/10.1007/978-3-030-44780-9_8

APA

Carruthers, J. (2020). Rough and Smooth Sands: Social Thresholds and Seaside Style. In J. Carruthers, & N. Dakkak (Eds.), Sandscapes: Writing the British Seaside (pp. 125-139). Palgrave Macmillan. https://doi.org/10.1007/978-3-030-44780-9_8

Vancouver

Carruthers J. Rough and Smooth Sands: Social Thresholds and Seaside Style. In Carruthers J, Dakkak N, editors, Sandscapes: Writing the British Seaside . New York: Palgrave Macmillan. 2020. p. 125-139 doi: 10.1007/978-3-030-44780-9_8

Author

Carruthers, Jo. / Rough and Smooth Sands : Social Thresholds and Seaside Style. Sandscapes: Writing the British Seaside . editor / Jo Carruthers ; Nour Dakkak. New York : Palgrave Macmillan, 2020. pp. 125-139

Bibtex

@inbook{2f71f70b13b24fcea0c0fb4e8e1edafd,
title = "Rough and Smooth Sands: Social Thresholds and Seaside Style",
abstract = "Ribbons on the edges of the land, sandscapes are “strands”, echoing the horizon line of the sea. Seemingly as untouched by human hand as the sea itself, the sandscape is often turned to by writers who testify to it as a space in which we can lose ourselves, to escape the world. Elizabeth Gaskell described her heroine, Margaret Hale, on the sandscape as enjoying the “luxury of pensiveness”, a moment of peace and transcendence. This chapter explores the way this sense of the sandscape as escape is projected onto the straight line of modernist architecture. The example here will be the iconic 1933 Midland Hotel in Morecambe. Built on sand, the hotel reflects the architect, Oliver Hill{\textquoteright}s, commitment to the complementarity of natural and built forms. Yet, the straight line also privileges the sandscape{\textquoteright}s smooth aesthetic over its rougher realities, placing minimalism above what has been labelled the “vulgar” or “crude” working class aesthetics of the seaside town. This chapter will explore the smooth line in seaside architecture as a smoothing over of quotidian reality and calls for a greater celebration of ornate seaside aesthetics that express the complex beauty of sand itself. ",
author = "Jo Carruthers",
year = "2020",
month = dec,
day = "1",
doi = "10.1007/978-3-030-44780-9_8",
language = "English",
isbn = "9783030447793",
pages = "125--139",
editor = "Carruthers, {Jo } and Nour Dakkak",
booktitle = "Sandscapes",
publisher = "Palgrave Macmillan",

}

RIS

TY - CHAP

T1 - Rough and Smooth Sands

T2 - Social Thresholds and Seaside Style

AU - Carruthers, Jo

PY - 2020/12/1

Y1 - 2020/12/1

N2 - Ribbons on the edges of the land, sandscapes are “strands”, echoing the horizon line of the sea. Seemingly as untouched by human hand as the sea itself, the sandscape is often turned to by writers who testify to it as a space in which we can lose ourselves, to escape the world. Elizabeth Gaskell described her heroine, Margaret Hale, on the sandscape as enjoying the “luxury of pensiveness”, a moment of peace and transcendence. This chapter explores the way this sense of the sandscape as escape is projected onto the straight line of modernist architecture. The example here will be the iconic 1933 Midland Hotel in Morecambe. Built on sand, the hotel reflects the architect, Oliver Hill’s, commitment to the complementarity of natural and built forms. Yet, the straight line also privileges the sandscape’s smooth aesthetic over its rougher realities, placing minimalism above what has been labelled the “vulgar” or “crude” working class aesthetics of the seaside town. This chapter will explore the smooth line in seaside architecture as a smoothing over of quotidian reality and calls for a greater celebration of ornate seaside aesthetics that express the complex beauty of sand itself.

AB - Ribbons on the edges of the land, sandscapes are “strands”, echoing the horizon line of the sea. Seemingly as untouched by human hand as the sea itself, the sandscape is often turned to by writers who testify to it as a space in which we can lose ourselves, to escape the world. Elizabeth Gaskell described her heroine, Margaret Hale, on the sandscape as enjoying the “luxury of pensiveness”, a moment of peace and transcendence. This chapter explores the way this sense of the sandscape as escape is projected onto the straight line of modernist architecture. The example here will be the iconic 1933 Midland Hotel in Morecambe. Built on sand, the hotel reflects the architect, Oliver Hill’s, commitment to the complementarity of natural and built forms. Yet, the straight line also privileges the sandscape’s smooth aesthetic over its rougher realities, placing minimalism above what has been labelled the “vulgar” or “crude” working class aesthetics of the seaside town. This chapter will explore the smooth line in seaside architecture as a smoothing over of quotidian reality and calls for a greater celebration of ornate seaside aesthetics that express the complex beauty of sand itself.

U2 - 10.1007/978-3-030-44780-9_8

DO - 10.1007/978-3-030-44780-9_8

M3 - Chapter

SN - 9783030447793

SP - 125

EP - 139

BT - Sandscapes

A2 - Carruthers, Jo

A2 - Dakkak, Nour

PB - Palgrave Macmillan

CY - New York

ER -