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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: 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

'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

Furniture drawings

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

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

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

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

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

Wrecking Ball

Wrecking Ball

Wrecking Ball woodcut and cardboard print

Note from the artist: This print is part of the collection Wank!, a series of six posters for various sources - such as essays, video clips, movies or performances - all dealing with the taboo subject of female masturbation. Acting like a curator of these references, I aim to highlight that any attempt to represent feminine masturbation through a feminist eye still finds its limits where a branded masculine interpretation of feminine sexuality starts.

Campistron, Dominique

Movement study

One sheet with a series of pencil sketches, source photographs attached, recording movement.  Handwritten note at the foot of the sheet records the date April 1997, 'the arms swing like gyroscopes to balance the action, contrapposto is not just a concept but a fact of movement'

Robertson, Frances

"Kitten" mascot

A small fabric soft "kitten" mascot.

Lviv National Academy of the Arts has been a hub for displaced staff and students since the beginning of the invasion of Ukraine in 2022. Volunteers have been making camouflage nets for the front line. But alongside this they have also been making small toys/mascots for the soldiers from the leftover camouflage fabric. The Ukrainian soldiers are affectionately called “Our Kittens”, their Kittens fighting for Ukraine.

This "kitten" was gifted to GSA's Archives and Collections staff as a token of thanks from colleagues in the Lviv National Academy of the Arts. GSA Archives and Collections staff mentored LNAA staff through a digitisation project in 2023, as part of the funded project "Developing and Promoting Sustainable Cultural Heritage in Disaster Contexts" which was part of GSA's ongoing twinning with Lviv National Academy of the Arts. GSA's Archives and Collections staff were told that we here at GSA are also LNAA's "kittens", fighting to protect the heritage of LNAA and Ukraine.

Not available / given

Printed length for degree show

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

Wood Sprite, short film

Wood Sprite, short film

Project Wood Sprite:

The short film Wood Sprite utilises video and stop-motion, as well as performing techniques from marionette to shadow puppetry and life-size, embodied puppets. The objects crafted for the project involve fabrication processes using wood, textiles, and paper. All processes were realised and connected through a holistic approach by the artist herself.

In the form of a tale, Wood Sprite depicts the origin journey of a wooden puppet to the forest. The sentient woods absorb this being into the night, allowing her and the puppeteer, in a mirroring game, into a realm of dissolution of all forms, matter and spirit. This film honours the union of nature and culture, and the porosity attuning human and more-than-human creatures, at a time where the stillness of the theatre stage forces us to enquire outwards – or, truly, inwards.
Fabrication, Puppeteering & Filmmaking | Ella Josephine Campbell.

Pine Sprite Performance and Dance | Solene Schnuriger & Ella Josephine
Campbell.

Music | ‘ I’ll Read You a Story ’ by Colleen, Written by Cecile Schot (SACEM), Used Courtesy of Cecile Schot.

Campbell, Ella Josephine

Artist's easel

Traditional artist's easel. According to donor, the artist's wife Mrs Nina Herman, the easel was borrowed by her husband from GSA c1950. This had been made possible by Joan Eardley. The easel never returned. On the death of Josef Herman, his widow began clearing out his studio. The drawing (NMC/633) was gifted to GSA as a thank you for the 50 year loan of the easel.

*Not available / given

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