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'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

'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

'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

'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

'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

Polychrome abstract design on purple background. Signed 'Stewart 1966' on right edge.

A poster design for a Christmas display of Strathyre Pottery at a Studio at 74 George Street.

Originally located inside portfolio folder (DC 110/1/4).

A collection of six sketchbooks created by Mary Ramsay, including four from her time as a student at The Glasgow School of Art, one dated to after her studies, and one undated. These sketchbooks feature a variety of subjects and themes, including life drawings, portraits, illustrations, floral patterns, ceramics studies, book designs, card designs, and lettering. Most artworks are pencil on paper, with some also using paint, ink, and pastel. Some sketchbooks include a number of loose ephemera items, such as newspaper cuttings and postage stamps.

A variety of illustrations and designs completed by Mary Ramsay. Most of these items are undated, though one bears a label referring to Ramsay's studies during the 1915-1916 session at The Glasgow School of Art. These items include pencil and paint on paper.

A collection of five individual studies of ceramic patterns mounted on black paper, bearing the title Summer Studies.

Originally located inside portfolio folder (DC 110/1/4).

A variety of artworks completed by Mary Ramsay, including life drawings, portraits, architectural studies, designs, prints, and illustrations. Some of these items are dated to her time as a student at The Glasgow School of Art. Most items are pencil on paper, with a few further studies in paint.

This subfond includes one item by Jessie Wilson (DC 110/1/1/18), another student of The Glasgow School of Art, with whom Mary Ramsay and Margaret Macdonald started a pottery decorating business at The Studio, Strathyre, in 1926.

A variety of loose artworks and six sketchbooks completed by Mary Ramsay, including life drawings, portraits, architectural studies, designs, prints, and illustrations. Some of these items are dated to her time as a student at The Glasgow School of Art. Most items are pencil on paper, with a few further studies in paint. This collection also includes a portfolio folder (DC 110/1/4) and personal papers (DC 110/3).

This collection includes one item by Jessie Wilson (DC 110/1/1/18), another student of The Glasgow School of Art, with whom Mary Ramsay and Margaret Macdonald started a pottery decorating business at The Studio, Strathyre, in 1926.

Plate from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Plate from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Plate from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Plate from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Plate from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Plate from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Plate from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Plate from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Plate from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Plate from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks. It suffered damage in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014, and has since undergone conservation.

Saucer from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Saucer from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Saucer from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Saucer from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Saucer from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Saucer from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Saucer from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Saucer from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Saucer from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Cup from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

Saucer from a part set of painted china tea service. Green/yellow lustre glaze over painted flower pattern on white china blanks.

This item suffered significant damage in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. It was salvaged and has undergone conservation and consolidation work in 2018. Brown fired ceramic bowl with grooves. Grey glaze on the inside.

Rim fragment with green/brown glaze with dark blue hand-painted desgin on recto. Dark blue glaze on verso.

Rim fragment with cream glaze and blue, turquoise, red, and dark brown hand-painted patterns on recto. '15 SAVEH' and '15' handwritten on verso. Saveh is a city in Iran.

Slightly curved fragment with pastel blue glaze on recto and verso.

Small fragment with cream glaze and gold hand-painted face on recto. Blue glaze with faint green hand-painted pattern on verso.

Slightly curved fragment with blue glaze and dark green hand-painted design and bands on recto. Blue glaze with dark green hand-painted Arabic writing and a green band on verso.

Rim fragment from dish or plate. Hand-painted black Arabic writing on recto. 'GOMBAZ KAOUE near Persepolis' handwritten on verso. Persepolis is a city in Iran.

Rim fragment from dish or plate. Cream glaze with yellow/gold hand-painted pattern with crown on recto. Small area of cream glaze and red/brown section of hand-painted band on verso.

Fragment of dish or plate. Cream glaze with dark blue, turquoise, black, red, hand-painted figures and animal on recto with some gold leaf. Cream glaze with turquoise, blue, and red hand-painted figures on verso with some gold leaf. One large crack down the centre.

Small fragment with cream glaze and yellow/gold, blue, and red hand-painted designs with gold leaf on recto.

Fragment with cream glaze and light yellow/gold hand-painted patterns and figures riding horses on recto. Cream glaze with brown hand-painted designs on verso.

Rim fragment with cream glaze and yellow/gold hand-painted design on recto. Gold hand-painted patterns with figure on verso. Possibly small handwritten letters on an edge.