De luxe illustrated catalogue of the artistic property belonging to Charles of London, to be sold at unrestricted public sale,

"Edition limited to 500 copies."

Revue des arts décoratifs.

At head of title: v. 1, Union centrale, Musée des arts décoratifs; v. 2, 5-16, Union centrale des arts décoratifs; v. 17-21, L'art dans la vie contemporaine.

Pottery from the Index of American Design : National Gallery of Art color slide program.

Shipping list no.: 96-0088-P.

The Studio.

No. 229 repeated in numbering; no. 230 omitted.

Deutsche Kunst und Dekoration : Wohnungskunst, Malerei, Plastik, Architektur, Gärten, künstlerische Frauen-Arbeiten.

Editor: Alexander Koch.

Svi︠e︡tilʹnik.

Editor: V.I. Olovi︠a︡nishnikov.

The arts in early England,

The author died while several chapters of v. 6 were obviously unfinished, but no attempt was made to complete the subject-matter. The work was to have been concluded with a 7th volume discussing the illuminated manuscripts of the period.

Unfolding the Archive (Group Exhibition)

Unfolding the Archive, an exhibition of new work by the international artists’ group Floating World, is the result of a collaboration between the National Irish Visual Arts Library (NIVAL) and the F.E. McWilliam Gallery & Studio in partnership with the NCAD Gallery at the National College of Art & Design. The exhibition takes its title from the tangible starting point for engagement with an archive – the simple act of unfolding – and the practice of appraisal, valuation and interpretation that is inherent in this process.

The Ballets Russes connection with fashion.

This paper examines the influence that the costume designers of the Ballets Russes, many of whom were important artists from significant art movements of the day, had on contemporaneous fashion. It looks at why in particular the 'Ballets Russes' artists Leon Bakst and Natalia Goncharova went on to involve themselves in actual fashion production and the similarities between their work and the fashion designers producing work at the same time, principally Paul Poiret, Mariano Fortuny and Coco Chanel. Overall, this paper investigates the significance of the cultural times and of the distinct characteristics of the separate art forms, that may have encouraged avant-garde art and fashion to crossover and collaborate so unreservedly.

Evaluating the conservation of graffiti based on cultural significance.

Purpose – Graffiti, both ancient and contemporary, could be argued to be significant and therefore worthy of protection. Attaching value is, however, subjective with no specific method being solely utilised for evaluating these items. The purpose of this paper to help those who are attempting to evaluate the merit of graffiti to do so, by determining “cultural significance”, which is a widely adopted concept for attaching value to the historic built environment. The current Scottish system utilised to assess “cultural significance” is the Scottish Historic Environment Policy (SHEP) which shares many common features with other determinants of cultural significance in different countries. The SHEP document, as with other systems, could however be criticised for being insufficiently sensitive to enable the evaluation of historic graffiti due, in part, to the subjective nature of determination of aesthetic value. Design/methodology/approach – A review of literature is followed by consideration of case studies taken from a variety of historical and geographical contexts. The majority of examples of graffiti included in this paper have been selected for their relative high profile, previous academic study, and breadth of geographic spread. This selection will hopefully enable a relatively comprehensive, rational assessment to be undertaken. That being said, one example has been integrated to reflect commonly occurring graffiti that is typical to all of the built environment. Findings – The determination of aesthetic value is particularly problematic for the evaluator and the use of additional art‐based mechanisms such as “significant form”, “self expression” and “meaning” may aid this process. Regrettably, these determinants are also in themselves subjective, enhancing complexity of evaluation. Almost all graffiti could be said to have artistic merit, using the aforementioned determinants. However, whether it is “good” art is an all together different question. The evaluation of “good” art and graffiti would have traditionally been evaluated by experts. Today, determination of graffiti should be evaluated and value attached by broader society, community groups, and experts alike. Originality/value – This research will assist those responsible for historic building conservation with the evaluation of whether graffiti is worthy of conservation.

The influence of British rule on elite Indian menswear: the birth of the Sherwani

‘The Influence of British Rule on Elite Indian Menswear: The Birth of the Sherwani’ is a study of the influence of politics on fashion and the resulting development of new garments. This research is designed to demonstrate the effect on elite Indian menswear of the two centuries of British rule in India. It is an effort to understand how the flowing garments worn by elite Indian men in the 18th century gradually became more tailored and fitted with the passage of time. The study uses multiple sources to bring to light lesser known facts about Indian menswear, the evolution of different garments and especially of the sherwani. The sherwani is a knee-length upper garment worn by South-Asian men, and is considered to be India’s traditional menswear. My study highlights the factors responsible for the birth of the sherwani and dispels the myth that it was a garment worn by the Mughals. Simultaneously, this study examines the concept and value of ‘tradition’ in cultures. It scrutinises the reasons for the sherwani being labelled as a traditional Indian garment associated with the Mughal era, when in fact it was born towards the end of the 19th century. The study also analyses the role of the sherwani as a garment of distinction in pre- and post-independence India.

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.

Research in Architecture: Looking Backward and Forward: Forty-Year Experience in Architectural Research at the Faculty of Architecture STU

The introduction of my contribution contains a brief information on the Faculty of Architecture of the Slovak University of Technology in Bratislava (FA STU) and the architectural research performed at this institution. Schemes and priorities of our research in architecture have changed several times since the very beginning in early 50’s. The most significant change occurred after “the velvet revolution” in 1989. Since 1990 there have been several sources to support research at universities. The significant part of my contribution is rooted in my own research experience since the time I had joined FA STU in 1975 as a young architect and researcher. The period of the 80’s is characterized by the first unintentional attempts to do “research by design” and my “scientific” achievements as by-products of my design work. Some of them resulted in the following issues: conception of mezzo-space, theory of the complex perception of architectural space and definition of basic principles of ecologically conscious architecture. Nowadays I continue my research by design within the application of so called solar envelope in urban scale with my students.

Architectural competitions [microform] : hearing before the Committee on Environment and Public Works, United States Senate, Ninety-sixth Congress, first session, on S. 461 ... October 15, 1979.

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