Nathan Coley

Nathan Coley (*1967 in Glasgow) is interested in the idea of "public" space, and his practice explores the ways in which architecture becomes invested-and reinvested-with meaning. Across a range of media Coley investigates what the built environment reveals about the people it surrounds and how the social and individual response to it is in turn culturally conditioned. Using the readymade as a means to take from and re-place in the world, Coley addresses the ritual forms we use to articulate our beliefs-from hand-held placards and erected signs to religious sanctuaries. Whether highlighting in illuminated letters the testimony of a New Yorker recalling the World Trade Center attacks or erasing the names of the dead from their gravestones, his work frequently turns the specific into the general, thereby testing its function as a form of social representation; simply, does this aphorism, this gravestone, this building, speak on my behalf?

Published to accompany exhibition held at The Fruitmarket Gallery, Edinburgh, 22 May - 19 July 2004.

What is the role of design research in the types of insight and knowledge that architects create? That is the central question raised by this book. It acts as the introductory overview for Ashgate’s major new series, ’Design Research in Architecture’ which has been created in order to establish a firm basis for this emerging field of investigation within architecture. While there have been numerous architects-scholars since the Renaissance who have relied upon the interplay of drawings, models, textual analysis, intellectual ideas and cultural insights to scrutinise the discipline, nonetheless, until recently, there has been a reluctance within architectural culture to acknowledge and accept the role of design research as part of the discourse. However, in many countries around the world, one of the key changes in architecture and architectural education over the last decade has been the acceptance of design as a legitimate research area in its own right and this new series provides a forum where the best proponents of architectural design research can publish their work. This volume provides a broad overview on design research that supports and amplifies the different volumes coming out in the book series. It brings together leading architects and academics to discuss the more general issues involved in design research. At the end, there is an Indicative Bibliography which alludes to a long history of architectural books which can be seen as being in the spirit of design research.

To the Bramley Family of Frestonia' is a publication documenting a public art project in London by Glasgow-based contemporary artist Nathan Coley (b.1967). In the mid-late 1960s, the Greater London Council moved local authority tenants out of their run-down terraced houses in the Freston Road area of the Royal Borough of Kensington and Chelsea an

Craig Richardson here addresses key areas of cultural politics and identity in a way that not only illuminates the development of Scottish art, but teases out another strand of the plurality of developments which led to the success of artists throughout the UK in the 1990s. It is of the highest relevance whether one's perspective is that of the development of the Scottish art, British art or European art of this period. The book adds significantly to our knowledge of the art of this period in a way that will aid not only our historical understanding but our understanding of the dynamics of art practice today. Providing an analysis and including discussion (interviewing artists, curators and critics and accessing non-catalogued personal archives) towards a new chronology, Richardson here examines and proposes a sequence of precisely denoted 'exemplary' works which outlines a self-conscious definition of the interrogative term 'Scottish art.' Among the artists whose work is discussed are John Latham, Simon Starling, Alan Johnston, Roderick Buchanan, Glen Onwin, Christine Borland, William Johnstone, Joan Eardley, Alexander Moffat, Douglas Gordon, Alan Smith, Graeme Fagen, Ross Sinclair and many others. The discussion culminates in a critically original demonstration of the scope for further research and practice within the subject, facilitating national cultural debate on the character of Scottish-national visual art.

Takes stock of existing approaches in the interpretation of Lucretius, innovates within these, and advances in new directions.