After World War II, France embarked on a project of modernization, which included the development of the modern mass home. At Home in Postwar France examines key groups of actors - state officials, architects, sociologists and tastemakers - arguing that modernizers looked to the home as a site for social engineering and nation-building; designers and advocates of the modern home contributed to the democratization of French society; and the French home of the Trente Glorieuses, as it was built and inhabited, was a hybrid product of architects', planners', and residents' understandings of modernity. This volume identifies the "right to comfort" as an invention of the postwar period and suggests that the modern mass home played a vital role in shaping new expectations for well-being and happiness.

EMBRACING THE PAST tells the story of how the author's personal preservation project turned into a study of the people who live in historic districts (areas of a city that are designated as having historic, cultural or architectural significance) and how they navigate the day-to-day realities of old wiring, bad plumbing, crumbling foundations, curious tourists, not-always-helpful city officials and skeptical family members. Interviews with nearly three dozen property owners in three Missouri communities revealed that there are threads of similarities that run through their experiences of looking for, purchasing, and renovating or restoring their old houses. In exploring the concepts of "appreciation," "possession," and "affiliation," the author lets the residents of historic districts tell their stories in their own always honest, often funny, and sometimes poignant way. If you love history, old houses, or just like to watch HGTV, you'll enjoy this book.

-- The oldest continuously settled community in the United States, St. Augustine has weathered Spanish, British, and American governments, several wars, and many changes in architectural fashion
-- Richly illustrated with original watercolors and color photographs to show representative styles and forms
-- Each chapter covers a separate era in St. Augustine's history and discusses the city's distinctive character during that era as well as how architectural styles evolved
-- Offers a history of attempts at historic preservation and suggests future remedies
-- For those who appreciate diverse architectural styles

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

India in Art in Ireland is the first book to address how the relationship between these two ends of the British Empire played out in the visual arts. It demonstrates that Irish ambivalence about British imperialism in India complicates the assumption that colonialism precluded identifying with an exotic other. Examining a wide range of media, including manuscript illuminations, paintings, prints, architecture, stained glass, and photography, its authors demonstrate the complex nature of empire in India, compare these empires to British imperialism in Ireland, and explore the contemporary relationship between what are now two independent countries through a consideration of works of art in Irish collections, supplemented by a consideration of Irish architecture and of contemporary Irish visual culture. The collection features essays on Rajput and Mughal miniatures, on a portrait of an Indian woman by the Irish painter Thomas Hickey, on the gate lodge to the Dromana estate in County Waterford, and a consideration of the intellectual context of Harry Clarke's Eve of St. Agnes window. This book should appeal not only to those seeking to learn more about some of Ireland's most cherished works of art, but to all those curious about the complex interplay between empire, anti-colonialism, and the visual arts.

A lost sketch book on a Portuguese castle rampart left Manuel Joao Ramos bereft, and the impulse to draw deserted him - but his first trip to Ethiopia reawakened this pleasure, so long denied. Drawing obsessively and free from care, his rapidly caught impressions convey the rough edges of the intensely lived experiences that are fundamental to the desire to travel. For the travel sketch is more than a record or register of attendance (`been there, seen that'): it holds invisibly within itself the remnant of a look, the hint of a memory and a trace of an osmosis of feelings between the sketcher and the person or objects sketched. Less intrusive than using a camera, Ramos argues drawing comprises a less imperialist, more benign way of researching: his sketchbook becomes a means of communication between himself and the world in which he travels, rendering him more human to those around him. As he journeys through the Ethiopian Central Highlands, collecting historical legends of the power struggles surrounding the arrival of the first Europeans in the mid-sixteenth century, he is drawn to the Portuguese legacy of castles, palaces and churches, near ruins now, though echoes of their lost splendour are retained in oral accounts. Excerpts from his diary, as well as journalistic pieces, share the conviviality of his encounters with the priests, elders and historians who act as custodians of the Amhara oral tradition. Their tales are interwoven with improvised, yet assured, drawings, and this informality of structure successfully retains the immediacy and pleasure of his discovery of Ethiopia. It also suggests the potential for drawing to play a more active part in anthropological production, as a means of creating new narratives and expositional forms in ethnography, bringing it closer to travel writing or the graphic novel.

Since 1994 South Africa has undergone a steady erosion of its indigenous built environment, with a concomitant loss of indigenous building technology and its specialised terminology. This glossary is based on the premise that you cannot understand the culture of a people unless you have a grasp of the nuances and hidden meanings of their language and brings together in one single volume the terminologies that are used by southern Africa's rural builders. It covers the terminology used by indigenous builders as well as subsequent colonial white settlers including buildings of the so-called Cape Dutch, English Georgian, Victorian and Indian Traditions. The text is set out in alphabetical order. It comprises of each term in its original language, its translation where appropriate into isiZulu, and its definition in English and isiZulu. One of the strengths of this book is its visual component of accompanying sketches that expertly illustrate the terms. This book is designed not only to assist in the teaching of architecture, but also to aid others who are interested in the field. Researchers and practitioners in disciplines such as anthropology, archaeology, culture studies and building science will find it a valuable addition to their libraries.

This volume builds upon the new worldwide interest in the global Middle Ages. It investigates the prismatic heritage and eclectic artistic production of Eastern Europe between the fourteenth and seventeenth centuries, while challenging the temporal and geographical parameters of the study of medieval, Byzantine, post-Byzantine, and early-modern art. Contact and interchange between primarily the Latin, Greek, and Slavic cultural spheres resulted in local assimilations of select elements that reshaped the artistic landscapes of regions of the Balkan Peninsula, the Carpathian Mountains, and further north. The specificities of each region, and, in modern times, politics and nationalistic approaches, have reinforced the tendency to treat them separately, preventing scholars from questioning whether the visual output could be considered as an expression of a shared history. The comparative and interdisciplinary framework of this volume provides a holistic view of the visual culture of these regions by addressing issues of transmission and appropriation, as well as notions of cross-cultural contact, while putting on the global map of art history the eclectic artistic production of Eastern Europe.