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Art, Design and Architecture collection
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'Hostile cups: Obstruct'

'Obstruct': 1 of a set of 5 ceramic pots, wheel thrown with hand-built adjustments.

Artist statement: "Hostile architecture is a phenomenon with rase rise significantly throughout urban design this century. A widely recognised example of this type of design is the 'uncomfortable bench'. Interventions of this kind are now familiar, and can even be a cause of comfort to privileged audiences, but it is important to consider their sociological effects. We have replaced human interaction, nuance and empathy with hard, physical and non-negotiable solutions. Identifying five core aspects of hostile urban design - limit, control, obstruct, impede and deter - I have developed a series of ceramic cups which each embody one of these qualities."

Source: https://drive.google.com/file/d/1Pe53s2N6laNXHxxQ-RrjA5cjvuFNeUPC/view

Gray, Arvinda

'Hostile cups: Impede'

'Impede': 1 of a set of 5 ceramic pots, wheel thrown with hand-built adjustments.

Artist statement: "Hostile architecture is a phenomenon with rase rise significantly throughout urban design this century. A widely recognised example of this type of design is the 'uncomfortable bench'. Interventions of this kind are now familiar, and can even be a cause of comfort to privileged audiences, but it is important to consider their sociological effects. We have replaced human interaction, nuance and empathy with hard, physical and non-negotiable solutions. Identifying five core aspects of hostile urban design - limit, control, obstruct, impede and deter - I have developed a series of ceramic cups which each embody one of these qualities."

Source: https://drive.google.com/file/d/1Pe53s2N6laNXHxxQ-RrjA5cjvuFNeUPC/view

Gray, Arvinda

'Hostile cups: Control'

'Control': 1 of a set of 5 ceramic pots, wheel thrown with hand-built adjustments.

Artist statement: "Hostile architecture is a phenomenon with rase rise significantly throughout urban design this century. A widely recognised example of this type of design is the 'uncomfortable bench'. Interventions of this kind are now familiar, and can even be a cause of comfort to privileged audiences, but it is important to consider their sociological effects. We have replaced human interaction, nuance and empathy with hard, physical and non-negotiable solutions. Identifying five core aspects of hostile urban design - limit, control, obstruct, impede and deter - I have developed a series of ceramic cups which each embody one of these qualities."

Source: https://drive.google.com/file/d/1Pe53s2N6laNXHxxQ-RrjA5cjvuFNeUPC/view

Gray, Arvinda

'Hostile cups: Deter'

'Deter': 1 of a set of 5 ceramic pots, wheel thrown with hand-built adjustments.

Artist statement: "Hostile architecture is a phenomenon with rase rise significantly throughout urban design this century. A widely recognised example of this type of design is the 'uncomfortable bench'. Interventions of this kind are now familiar, and can even be a cause of comfort to privileged audiences, but it is important to consider their sociological effects. We have replaced human interaction, nuance and empathy with hard, physical and non-negotiable solutions. Identifying five core aspects of hostile urban design - limit, control, obstruct, impede and deter - I have developed a series of ceramic cups which each embody one of these qualities."

Source: https://drive.google.com/file/d/1Pe53s2N6laNXHxxQ-RrjA5cjvuFNeUPC/view

Gray, Arvinda

'Hostile cups: Limit'

'Limit': 1 of a set of 5 ceramic pots, wheel thrown with hand-built adjustments.

Artist statement: "Hostile architecture is a phenomenon with rase rise significantly throughout urban design this century. A widely recognised example of this type of design is the 'uncomfortable bench'. Interventions of this kind are now familiar, and can even be a cause of comfort to privileged audiences, but it is important to consider their sociological effects. We have replaced human interaction, nuance and empathy with hard, physical and non-negotiable solutions. Identifying five core aspects of hostile urban design - limit, control, obstruct, impede and deter - I have developed a series of ceramic cups which each embody one of these qualities."

Source: https://drive.google.com/file/d/1Pe53s2N6laNXHxxQ-RrjA5cjvuFNeUPC/view

Gray, Arvinda

Furniture drawings

One sheet from a folder of six sheets of furniture designs,and designs for a fireplace, including one with a GSoA label recording session 1903-1904, James Porteous' student registration number 237, and Mr Taylor as his tutor. This sheet shows a design for a fireplace with integral mantle clock.

Porteous, James Henry

Furniture drawings

One sheet from a folder of six sheets of furniture designs, and designs for a fireplace, including one with a GSoA label recording session 1903-1904, James Porteous' student registration number 237, and Mr Taylor as his tutor. This sheet shows two views of a double wardrobe.

Porteous, James Henry

Furniture drawings

One sheet from a folder of six sheets of furniture designs, and designs for a fireplace, including one with a GSoA label recording session 1903-1904, James Porteous' student registration number 237, and Mr Taylor as his tutor. This sheet shows designs for a single wardrobe, dressing table, side view of dressing table, chair and wash stand.

Porteous, James Henry

Furniture drawings

One sheet from a folder of six sheets of furniture designs, and designs for a fireplace, including one with a GSoA label recording session 1903-1904, James Porteous' student registration number 237, and Mr Taylor as his tutor. This sheet shows front elevations of a chair, a dressing table and a cabinet.

Porteous, James Henry

Furniture drawings

One sheet from a folder of six sheets of furniture designs, and designs for a fireplace. This one with a GSoA label recording session 1903-1904, James Porteous' student registration number 237, and Mr Taylor as his tutor.

Porteous, James Henry

Furniture drawings

One sheet from folder of six sheets of furniture designs, and designs for a fireplace. Includes one with a GSoA label recording session 1903-1904, James Porteous' student registration number 237, and Mr Taylor as his tutor. Large sheet with double wardrobe, dressing table, cabinet and details.

Porteous, James Henry

Printed length for degree show

This length was created (as part of NMC/1579-1581) by Isobel Stirling for her Diploma Show in 1948 and produced under the supervision of Gladys Harrison. The design was based on an exercise using cut out paper, particularly the discarded pieces of paper rather than the shapes cut out.

Smyth, Isobel

The Glasgow School of Art Home Front Memorial

To mark the centenary of the First World War, GSA’s Archives & Collections and Exhibitions worked with Louise Welsh, Professor of Creative Writing at the University of Glasgow and Edwin Pickstone, GSA Lecturer, to create a memorial to GSA students, staff and governors who undertook work on the home front.

Consisting of three panels with text written by Louise and letterpress prints created by Edwin, the memorial was informed by archival research. The frame was designed and made by Steven Higgins with lettering from Erin Bradley-Scott.

This memorial is a partnership piece to GSA’s WWI Roll of Honour, created in 1925 by Dorothy Doddrell to commemorate students, staff and governors who had served in the armed forces.

The project was generously funded by Mr James McBroom whose father, James Nicol McBroom, was a prize-winning student at the School and who undertook munitions work during the war.

Pickstone, Edwin

Side table

White plywood triangular table, part of set of two chairs and table. Made by the artist whilst in the Interior Design Department in 1965/66.

Longmuir, James

Chair

White plywood chair, part of set of two chairs and table. Made by the artist whilst in the Interior Design Department in 1965/66.

Longmuir, James

Chair

White plywood chair, part of set of two chairs and table. Made by the artist whilst in the Interior Design Department in 1965/66.

Longmuir, James

'Conclusion' boards

The section title '8 Conclusion' appears in white on black mountboard. The next piece of mountboard is cream with two windows cut into it. The first window contains handwritten text discussing the conclusions the artist has come to in relation to design, based on her study of insects. The second window contains a drawing of a grasshopper in profile and a forward facing shot of its head. The final two pieces of cream mountboard frame detailed drawings of winged insects.

Thomson, Mary Fiona

'Continuous Structures' boards

The section title '6 Continuous Structures' is appears in white on black mountboard. The second sheet of mountboard is cream with two windows cut into it. Within one is handwritten text discussing the adaptability of insects. In the second window is a drawing of an insect (possibly a mantis) drawn from different angles. A third piece of cream mountboard frames two drawings of an insect (possibly a dragonfly), drawn from different angles.

Thomson, Mary Fiona

'Basic Structure' boards

The section title '2 Basic Structure' appears in white on black mountboard. A second piece of mountboard is cream with two windows cut into it. Within one is handwritten text detailing the basic structure of insects. In the second window is a fine black ink drawing showing an insect from six different angles. The third piece of mountboard is cream and consists of two frames, each containing drawings of a winged insect (possibly a beetle) from different angles.

Thomson, Mary Fiona

'Adaptability and Variety of Forms' boards

The title '7 Adaptability and Variety of Forms' appears in white on black mountboard. The second piece of mountboard is cream with three windows cut into it. Within one is handwritten text discussing the adaptability of insects, particularly referring to the mouth and legs. In the second window is a drawing of multiple insect legs, drawn from different angles. The last window shows the profile of an insect, possibly a grasshopper or cricket.

Thomson, Mary Fiona

'Movement' boards

The section title '5 Movement' appears in white on black mountboard. The second sheet of mountboard is cream with three windows cut into it. Within one is handwritten relating to movement, especially in relation to flight. The second window shows pencil drawings of a beetle from below, and the third, a winged insect (possibly a grasshopper).

Thomson, Mary Fiona

'Material' boards

The section title '4 Material' appears in white on black mountboard. The second piece of mountboard is cream with three windows cut into it. Within one window is handwritten text relating to chitin and the exocuticle of insects. The second window shows sketches/paintings of a hoverfly or wasp from multiple angles, and the third shows multiple butterfly wings.

Thomson, Mary Fiona

'Framework/Articulation' boards

The section title '3 Framework/Articulation' appears in white on black mountboard. A second piece of mountboard is cream with three windows cut into it. Within one is handwritten text detailing the structured framework which insects possess instead of a skeleton. In the second and third windows are watercolours showing two different insects from different angles.

Thomson, Mary Fiona

'Form and Function' boards

The section title '1 Form and Function' appears in white on black mountboard. The second piece of mountboard is cream with two windows cut into it. Both contain writing on the organisation, order, form and function of insects.

Thomson, Mary Fiona

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