The manufacture and utilisation of architectural terracotta and faience.

The revival of terracotta and faience in British architecture was widespread, dramatic in its results and, for two decades, the subject of intense debate. However the materials have been frequently denigrated and more generally disregarded by both architects and historians. This study sets out to record and explain the rise and fall of interest in terracotta and faience, the extent and nature of the industry and the range of architectural usage in the Victorian, Edwardian and inter-war periods. The first two chapters record the faltering use of terracotta as an 'artificial stone', until the material gained its own identity, largely through the appreciation of Italian architecture. In the mid-Victorian period, terracotta will be seen to have become symbolic of the philosophy of the Victoria and Albert Museum and its Art School in attempting to reform both architecture and the decorative arts. The adoption of terracotta was furthered as much by industrial as aesthetic factors; three chapters examine how the exploitation of coal-measure clays, developments in the processes of manufacture, the changing motivation of industrialists and differing economics of production served to promote and then to hinder expansion and adaptation. The practical values of economy, durability and fire-resistance and the aesthetic potential, seen in terms of colour and decorative and sculptural modelling, became inter-related in the work of the architects who made extensive use of architectural ceramics. A correlation emerges between the free Gothic style, exemplified by the designs of Alfred Waterhouse and the use of red terracotta supplied from Ruabon, and between the eclectic Renaissance style and a buff material produced by different manufacturers.These patterns were modified as a result of the adoption of faience for facing external walls as well as interiors, and because of the new architectural requirements and tastes of the twentieth century. The general timidity in exploiting the scope for polychromatic decoration and the increasing opposition to architectural ceramics is contrasted with the most successful schemes produced for cinemas, chain-stores and factories. In the last chapter, those undertaken by the Hathern Station Brick and Terracotta Company between 1896 and 1939 are used as a case study; they confirm that manufacturers, architects and clients were all committed to creating a modern and yet decorative architecture, appropriate for new building types and that would appeal to and be comprehensible to the public.

Heritage and innovative learning approaches:an alternative approach to engineering education

Over recent years, the role of engineering in promoting a sustainable society has received much public attention [1] with particular emphasis given to the need to promote the future prosperity and security of society through the recruitment and education of more engineers [2,3]. From an employment perspective, the Leitch Review [4] suggested that ‘generic’ transferable employability skills development should constitute a more substantial part of university education. This paper argues that the global drivers impacting engineering education [5] correlate strongly to those underpinning the Leitch review, therefore the question of how to promote transferable employability skills within the wider engineering curriculum is increasingly relevant. By exploring the use of heritage in the engineering curriculum as a way to promote learning and engage students, a less familiar approach to study is discussed. This approach moves away from stereotypical notions of the use of information technology as representing the pinnacle of innovation in education. Taking the student experience as its starting point, the paper draws upon the findings of an exploratory study critically analysing the pedagogical value of using heritage in engineering education. It discusses a teaching approach in which engineering students are taken out of their ‘comfort zone’ - away from the classroom, laboratory and computer, to a heritage site some 100 miles away from the university. The primary learning objective underpinning this approach is to develop students’ transferable skills by encouraging them to consider how to apply theoretical concepts to a previously unexplored situation. By reflecting upon students’ perceptions of the value of this approach, and by identifying how heritage may be utilised as an innovative learning and teaching approach in engineering education, this paper makes a notable contribution to current pedagogical debates in the discipline.

Critical practice and the public pedagogy of environmental and conservation media

Natural History filmmaking has a long history but the generic boundaries between it and environmental and conservation filmmaking are blurred. Nature, environment and animal imagery has been a mainstay of television, campaigning organisations and conservation bodies from Greenpeace to the Sierra Club, with vibrant images being used effectively on posters, leaflets and postcards, and in coffee table books, media releases, short films and viral emails to educate and inform the general public. However, critics suggest that wildlife film and photography frequently convey a false image of the state of the world’s flora and fauna. The environmental educator David Orr once remarked that all education is environmental education, and it is possible to see all image-based communication in the same way. The Media, Animal Conservation and Environmental Education has contributions from filmmakers, photographers, researchers and academics from across the globe. It explores the various ways in which film, television and video are, and can be, used by conservationists and educators to encourage both a greater awareness of environmental and conservation issues, and practical action designed to help endangered species. This book is based on a special issue of the journal Environmental Education Research.

Critical practice and the public pedagogy of environmental and conservation media

This article addresses the reluctance of mainstream corporate and commercial media to critically address major environmental and conservation issues. The resulting public pedagogy largely reproduces the neoliberal ideology informing much conservation practice and discourse. Nonetheless, the media retains an unrealised critical educative potential that needs to be drawn upon by critical media practitioners and educators. To do this, educators need to be cognisant of the phenomenological experience of spectatorship, the aesthetic form and relational contexts of media consumption, production and informal learning. Referring to the work of Vivian Sobchack, Henry Giroux, Pierre Bourdieu and Gilles Deleuze, the article argues that if critical practitioner-educators apply an analytic framework informed by critical realism, counter-hegemonic elements found within corporate and independent media productions and conservation initiatives may be rearticulated and re-presented in a more positive manner. For this to occur, critical media practitioners-educators need to recognise that feasible political and normative alternatives are both available and practically possible. The article ends by discussing some relatively recent non-fiction productions that express a commonality between human and non-human animals and so form the basis of a critical environmental education-media practice.

Media, ecology and conservation:using the media to protect the world's wildlife and ecosystems

The second book in The Converging World series, Media, Ecology and Conservation focuses on global connectivity and the role of new digital and traditional media in bringing people together to protect the world's endangered wildlife and conserve fragile and threatened habitats. New media offers opportunities for like-minded individuals, community groups, businesses and public organisations to learn and work cooperatively for the good of all species. One of the key themes of this book explores the important issue of how new information and communication technologies mediate the natural world, and our understanding of our place in it. By exploring the role of film, television, video, photography and the internet in animal conservation in the USA, India, Africa, Australia and the United Kingdom John Blewitt investigates the politics of media representation surrounding important controversies such as the trade in bushmeat, whaling and habitat destruction. The work and achievements of media/conservation activists are located within a cultural framework that simultaneously loves nature, reveres animals but too often ignores the uncomfortable realities of species extinction and animal cruelty.

Making sense of the ‘difficult’ past:transmission of political heritage and memory-work among young people across Europe

This article considers young people’s socialization into mnemonic communities in 14 European countries. It argues that such socialization is an intersubjective and selective process that, to a great degree, depends on the particular social environment that conditions the discourses on pasts available to young people. Drawing on memory studies, it recognizes memory as a valid alternative to the institutionalized past (history) but envisages the two as inextricably connected. Given this, it identifies several strategies adopted by young people in order to socialize understandings of the past. While these strategies vary, some reveal receptivity to populist and far right ideologies. Our study demonstrates how internalization of political heritage via mnemonic socialization within families is conditioned by both the national political agenda and socio-economic situation experienced across Europe.

Introduction: the media, animal conservation and environmental education

Natural History filmmaking has a long history but the generic boundaries between it and environmental and conservation filmmaking are blurred. Nature, environment and animal imagery has been a mainstay of television, campaigning organisations and conservation bodies from Greenpeace to the Sierra Club, with vibrant images being used effectively on posters, leaflets and postcards, and in coffee table books, media releases, short films and viral emails to educate and inform the general public. However, critics suggest that wildlife film and photography frequently convey a false image of the state of the world’s flora and fauna. The environmental educator David Orr once remarked that all education is environmental education, and it is possible to see all image-based communication in the same way. The Media, Animal Conservation and Environmental Education has contributions from filmmakers, photographers, researchers and academics from across the globe. It explores the various ways in which film, television and video are, and can be, used by conservationists and educators to encourage both a greater awareness of environmental and conservation issues, and practical action designed to help endangered species. This book is based on a special issue of the journal Environmental Education Research.

The media, animal conservation and environmental education

Natural History filmmaking has a long history but the generic boundaries between it and environmental and conservation filmmaking are blurred. Nature, environment and animal imagery has been a mainstay of television, campaigning organisations and conservation bodies from Greenpeace to the Sierra Club, with vibrant images being used effectively on posters, leaflets and postcards, and in coffee table books, media releases, short films and viral emails to educate and inform the general public. However, critics suggest that wildlife film and photography frequently convey a false image of the state of the world’s flora and fauna. The environmental educator David Orr once remarked that all education is environmental education, and it is possible to see all image-based communication in the same way. The Media, Animal Conservation and Environmental Education has contributions from filmmakers, photographers, researchers and academics from across the globe. It explores the various ways in which film, television and video are, and can be, used by conservationists and educators to encourage both a greater awareness of environmental and conservation issues, and practical action designed to help endangered species. This book is based on a special issue of the journal Environmental Education Research.