V&A PATTERN: BOX-SET IV PDF, EPUB, EBOOK

Mary Schoeser,Anna Buruma,Samantha Erin Safer | 320 pages | 02 Apr 2012 | V & A Publishing | 9781851776832 | English | London, United Kingdom V&A Pattern: box-set IV

To look through these images is to understand how we have collectively fantasized about the future of mobility for more than years. One common motif across all these images is that technology — primarily in the form of a car — will bring us a new way of getting around: one that is fast, frictionless and free, without a traffic jam in sight. From steampunk fantasies to afrofuturism, Hollywood blockbusters to concept-car extravaganzas, speed has figured at the heart of our mobile dreams. A view of the test track on top of the Fiat Lingotto factory in Turin. Raw materials were delivered to the ground floor with the assembly line going up through the building. The finished cars would then emerge at rooftop level and drive onto the track. This factory was built as a result of a collaboration between the Soviet Union and Ford to create an assembly plant to produce the Model A. New York is redrawn as a series of elevated walkways and train tracks with flying taxis and hovering past food drive-ins. Harley J. The Firebird 1 featured a gas turbo powered engine and a bubbletop single seat cockpit. Delegations of engineers and factory workers travelled to Stalingrad to help with the start of operations, training the Soviets in the processes of assembly-line production. Molino imagining the transport of the future in which commuters travel in selfcontained pods. Known for creating fantastical, elaborately staged images, Walker collaborates with set designers, stylists, hair and make-up artists, models and muses to bring his imagination to life. Snuffbox France, about Chased gold, lacquer. Inlaid hardstones, burgau shell and gold, 7. The Lives of the Objects , ed. Through these stories, this insightful history of museum curation — a world of careful study and sometimes remarkable fortuity — shows how the priorities of a museum are shaped and change over time. Some were acquired soon after completion, others have had a more convoluted journey to the museum, but these histories combine to tell us something of their reputation, and of their impact. It shows where the museum has come from, and where our priorities lie. Prized by collectors from East to West, Japanese netsuke are tiny objects of wonder that originated as utilitarian accessories for traditional Japanese dress. Over the centuries these small carved toggles, designed to hook over the top of the kimono sash, evolved into high-fashion depictions of all aspects of Japanese life. Ivory 52 Tiger and young. Ivory with inlaid eyes. Signed with inlaid eyes. Dresden Bequest. Salting Bequest. Another, subtler concept of movement is frequently conveyed in netsuke decoration. Other netsuke use carefully planned components to draw the eye first in one direction, usually to the extremities, before another element takes over, diverting attention to another part. In this way, the unwitting viewer is lured into scrutinizing the netsuke from all angles. The interaction between two or more people engaged in a fight was yet another method used to convey dramatic movement. By careful positioning of the head, limbs and clothing, for example, the netsuke of Taira no Tadamori mistakenly attacking the oil thief successfully conveys the impression of both action and force Plate As inro- and netsuke rapidly grew in popularity from around the mid-eighteenth century onwards, becoming items of high fashion, they also underwent a fundamental change in the nature of their decoration, and their clientele sought examples of an increasingly interesting and inventive nature. One method of achieving this was to expand the small and restricted size of the netsuke by incorporating unlikely, unusual or hidden elements as an integral part of the overall composition, at the same time often exploiting the unexpected. This is well illustrated by the netsuke of oniyarai at New Year, with Okame throwing beans from a container while, unknown to her, an oni can be seen hiding under the skirt of her kimono, taking cover from the beans Plate The story in its various versions stems from a tenth-century legend, which subsequently formed the basis of No- and Kabuki plays. According to the story, Kiyohime, the beautiful young daughter of an innkeeper, fell in love with a priest, Anchin, who scorned her persistent advances. Furious, she was transformed first into a witch, then a dragon. When Anchin took refuge underneath the great bronze bell of the temple, she used her magical powers to force the bell to crash to the ground, trapping Anchin inside. Netsuke portray an extremely wide range of subjects, reflecting not only the real or imaginary world, but also the many facets of daily life in Japan. The main inspiration for netsuke subjects was undoubtedly the natural world, most frequently animals, birds, sea creatures Plate 37 and insects, both real and imaginary, and of course, people. These were depicted in numerous compositional groupings, individually, as pairs, mother and young or as a larger assemblage, either on their own or with some reference to their natural habitat or the human world. Top results View all results. Shop by category. Victoria and Albert Museum Search. Previous Next. Sold out Sorry, this item is out of stock. Format Box-set 4 hardbacks. ISBN Pages 80 pp x 4. Dimensions x mm. Pictures 65 colour x 4. Product code V&A Pattern: Indian Florals by Rosemary Crill

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Victoria and Albert Museum Search. Previous Next. Sold out Sorry, this item is out of stock. Format Box-set 4 hardbacks. ISBN The museum owns the world's largest collection of post- classical sculpture, with the holdings of Italian Renaissance items being the largest outside Italy. The East Asian collections are among the best in Europe, with particular strengths in ceramics and metalwork , while the Islamic collection is amongst the largest in the Western world. Overall, it is one of the largest museums in the world. New 17th- and 18th-century European galleries were opened on 9 December These restored the original interiors and host the European collections — The Victoria and Albert Museum has its origins in the Great Exhibition of , with which , the museum's first director, was involved in planning. Initially it was known as the Museum of Manufactures , [10] first opening in May at Marlborough House , but by September had been transferred to Somerset House. At this stage the collections covered both applied art and science. By February discussions were underway to transfer the museum to the current site [13] and it was renamed South Kensington Museum. In the German architect Gottfried Semper , at the request of Cole, produced a design for the museum, but it was rejected by the Board of Trade as too expensive. The official opening by was on 20 June This was to enable in the words of Cole "to ascertain practically what hours are most convenient to the working classes" [17] —this was linked to the use of the collections of both applied art and science as educational resources to help boost productive industry. This led to the transfer to the museum of the School of Design that had been founded in at Somerset House; after the transfer it was referred to as the Art School or Art Training School, later to become the which finally achieved full independence in From the s to the s the scientific collections had been moved from the main museum site to various improvised galleries to the west of Exhibition Road. Queen Victoria returned to lay of the foundation stone of the Aston Webb building to the left of the main entrance on 17 May Queen Victoria's address during the ceremony, as recorded in The London Gazette , ended: "I trust that it will remain for ages a Monument of discerning Liberality and a Source of Refinement and Progress. In , on the outbreak of the Second World War, most of the collection was sent to a quarry in Wiltshire , to Montacute House in Somerset, or to a tunnel near Aldwych tube station , with larger items remaining in situ , sand-bagged and bricked in. Before the return of the collections after the war, the Britain Can Make It exhibition was held between September and November , [28] attracting nearly a million-and-a-half visitors. By most of the collections had been returned to the museum. This innovative approach to bringing young people to museums was a hallmark of the directorship of Roy Strong and was subsequently emulated by some other British museums. Strong's successor Elizabeth Esteve-Coll oversaw a turbulent period for the institution in which the museum's curatorial departments were re-structured, leading to public criticism from some staff. This is to ensure that the exhibits are better displayed, more information is available, access for visitors is improved, and the museum can meet modern expectations for museum facilities. The Exhibition Road Quarter project provided 6, square metres of extra space, which is the largest expansion at the museum in over years. In March , it was announced that the Duchess of Cambridge would become the first royal patron of the museum. Victorian parts of the building have a complex history, with piecemeal additions by different architects. Founded in May , it was not until that the museum moved to its present site. This area of London, previously known as Brompton , had been renamed 'South Kensington'. The first building to be erected that still forms part of the museum was the Sheepshanks Gallery in on the eastern side of the garden. The North [43] and South Courts [44] were then built, both of which opened by June They now form the galleries for temporary exhibitions and are directly behind the Sheepshanks Gallery. On the very northern edge of the site is situated the Secretariat Wing; [45] also built in , this houses the offices and boardroom, etc. An ambitious scheme of decoration was developed for these new areas: a series of mosaic figures depicting famous European artists of the Medieval and Renaissance period. None of this decoration survives. Part of these galleries became the new galleries covering the 19th century, opened in December The last work by Fowke was the design for the range of buildings on the north and west sides of the garden. The ceramic staircase in the northwest corner of this range of buildings was designed by F. Moody [49] and has architectural details of moulded and coloured pottery. All the work on the north range was designed and built in — The style adopted for this part of the museum was Italian Renaissance ; much use was made of terracotta , brick and mosaic. This is flanked by terracotta statue groups by Percival Ball. The interiors of the three refreshment rooms were assigned to different designers. The lower part of the walls are panelled in wood with a band of paintings depicting fruit and the occasional figure, with moulded plaster foliage on the main part of the wall and a plaster frieze around the decorated ceiling and stained-glass windows by Edward Burne-Jones. The Grill Room —81 was designed by Sir Edward Poynter ; [56] the lower part of its walls consist of blue and white tiles with various figures and foliage enclosed by wood panelling, while above there are large tiled scenes with figures depicting the four seasons and the twelve months, painted by ladies from the Art School then based in the museum. The windows are also stained glass; there is an elaborate cast-iron grill still in place. He designed to the north west of the garden the five-storey School for Naval Architects also known as the science schools , [58] now the Henry Cole Wing, in — Scott's assistant J. Wild designed the impressive staircase [59] that rises the full height of the building. Made from Cadeby stone, the steps are 7 feet 2. Continuing the style of the earlier buildings, various designers were responsible for the decoration. The terracotta embellishments were again the work of Godfrey Sykes, although sgraffito was used to decorate the east side of the building designed by F. The final part of the museum designed by Scott was the Art Library and what is now the sculpture gallery on the south side of the garden, built in — In the government launched a competition to design new buildings for the museum, with architect Alfred Waterhouse as one of the judges; [67] this would give the museum a new imposing front entrance. Construction took place between and The main entrance, consisting of a series of shallow arches supported by slender columns and niches with twin doors separated by pier, is Romanesque in form but Classical in detail. Likewise the tower above the main entrance has an open work crown surmounted by a statue of fame, [69] a feature of late Gothic architecture and a feature common in Scotland, but the detail is Classical. The main windows to the galleries are also mullioned and transomed, again a Gothic feature; the top row of windows are interspersed with statues of many of the British artists whose work is displayed in the museum. Prince Albert appears within the main arch above the twin entrances, and Queen Victoria above the frame around the arches and entrance, sculpted by Alfred Drury. The interior makes much use of marble in the entrance hall and flanking staircases, although the galleries as originally designed were white with restrained classical detail and mouldings, very much in contrast to the elaborate decoration of the Victorian galleries, although much of this decoration was removed in the early 20th century. The Museum survived the Second World War with only minor bomb damage. In the immediate post-war years there was little money available for other than essential repairs. The s and early s saw little in the way of building work; the first major work was the creation of new storage space for books in the Art Library in and This involved flooring over Aston Webb's main hall to form the book stacks, [71] with a new medieval gallery on the ground floor now the shop, opened in Then the lower ground-floor galleries in the south-west part of the museum were redesigned, opening in to form the new galleries covering Continental art — late Renaissance, Baroque through Rococo and neo-Classical. To link this to the rest of the museum, a new entrance building was constructed on the site of the former boiler house, the intended site of the Spiral , between and A few galleries were redesigned in the s including the Indian, Japanese, Chinese, ironwork, the main glass galleries, and the main silverware gallery, which was further enhanced in when some of the Victorian decoration was recreated. This included two of the ten columns having their ceramic decoration replaced and the elaborate painted designs restored on the ceiling. As part of the renovation the mosaic floors in the sculpture gallery were restored—most of the Victorian floors were covered in linoleum after the Second World War. After the success of the British Galleries, opened in , it was decided to embark on a major redesign of all the galleries in the museum; this is known as "FuturePlan", and was created in consultation with the exhibition designers and masterplanners Metaphor. The plan is expected to take about ten years and was started in Several designers and architects have been involved in this work. The design is a subtle blend of the traditional and modern: the layout is formal; there is an elliptical water feature lined in stone with steps around the edge which may be drained to use the area for receptions, gatherings or exhibition purposes. This is in front of the bronze doors leading to the refreshment rooms. A central path flanked by lawns leads to the sculpture gallery. The southern, eastern and western edges of the lawns have glass planters which contain orange and lemon trees in summer, which are replaced by bay trees in winter. The garden is also used for temporary exhibits of sculpture; for example, a sculpture by Jeff Koons was shown in The Exhibition Road Quarter opened in , with a new entrance providing access for visitors from Exhibition Road. A new courtyard, the Sackler Courtyard, has been created behind the Aston Webb Screen, a colonnade built in to hide the museum's boilers. The colonnade was kept but the wall in the lower part was removed in the construction to allow public access to the courtyard. A pavilion of Modernist design with angular roof and glass walls is located at the corner; it contains a cafe it is also covered with 4, tiles on its roof. The Sainsbury Gallery's column-less space at 1, square metres is one of the largest in the country, providing space for temporary exhibitions. The gallery can be assessed through the existing Western Range building where a new entrance to the Blavatnik Hall and the Museum has been created, and visitors can descend into gallery via stairs with lacquered tulipwood balustrades. The collecting areas of the museum are not easy to summarize, having evolved partly through attempts to avoid too much overlap with other national museums in London. The collection departments are further divided into sixteen display areas, whose combined collection numbers over 6. The following lists each of the collections on display and the number of objects within the collection. The museum has galleries, but given the vast extent of the collections only a small percentage is ever on display. Many acquisitions have been made possible only with the assistance of the National Art Collections Fund. With over , drawings, over , papers and paraphernalia, and over , photographs from around the world, together they form the world's most comprehensive architectural resource. Not only are all the major British architects of the last four hundred years represented, but many European especially Italian and American architects' drawings are held in the collection. As well as period rooms, the collection includes parts of buildings, for example the two top stories of the facade of Sir Paul Pindar 's house [93] [94] dated c. European examples include a dormer window dated — from the chateau of Montal. There are several examples from Italian Renaissance buildings including, portals, fireplaces, balconies and a stone buffet that used to have a built in fountain. The main architecture gallery has a series of pillars from various buildings and different periods, for example a column from the Alhambra. Examples covering Asia are in those galleries concerned with those countries, as well as models and photographs in the main architecture gallery. It has one of the world's most comprehensive and important collections of Chinese art whilst the collection of South Asian Art is the most important in the West. The Jameel Gallery of Islamic Art, opened in , houses a representative display of objects with the highlight being the Ardabil Carpet , the centrepiece of the gallery. A masterpiece of Islamic art is a 10th-century Rock crystal ewer. A 15th-century minbar from a Cairo mosque with ivory forming complex geometrical patterns inlaid in wood is one of the larger objects on display. Extensive examples of ceramics especially Iznik pottery, glasswork including 14th-century lamps from mosques and metalwork are on display. The collection of Middle Eastern and Persian rugs and carpets is amongst the finest in the world, many were part of the Salting Bequest of Examples of tile work from various buildings including a fireplace dated from Istanbul made of intricately decorated blue and white tiles and turquoise tiles from the exterior of buildings from Samarkand are also displayed. The Museum's collections of South and South-East Asian art are the most comprehensive and important in the West comprising nearly 60, objects, including about 10, textiles and paintings, [95] the range of the collection is immense. The Jawaharlal Nehru gallery of Indian art , opened in , contains art from about BC to the 19th century. There is an extensive collection of sculpture, mainly of a religious nature, Hindu , Buddhist and Jain. The gallery is richly endowed with art of the Mughal Empire and the Marathas , including fine portraits of the emperors and other paintings and drawings, jade wine cups and gold spoons inset with emeralds, diamonds and rubies, also from this period are parts of buildings such as a jaali and pillars. Examples of clothing are also displayed. Items in the collection include Tipu's Tiger , an 18th-century automaton created for Tipu Sultan , the ruler of the Kingdom of Mysore. The personal wine cup of Mughal Emperor Shah Jahan also on display. The T. Though the majority of art works on display date from the Ming and Qing dynasties, there are exquisite examples of objects dating from the Tang dynasty and earlier periods. Notably, a metre-high bronze head of the Buddha dated to c. Two large ancestor portraits of a husband and wife painted in watercolour on silk date from the 18th century. There is a unique Chinese lacquerware table , made in the imperial workshops during the reign of the Xuande Emperor in the Ming dynasty. One of the largest objects is a bed from the midth century. The work of contemporary Chinese designers is also displayed. The Toshiba gallery of Japanese art opened in December The majority of exhibits date from to , but one of the oldest pieces displayed is the 13th- century sculpture of Amida Nyorai. One of the finest objects displayed is Suzuki Chokichi's bronze incense burner koro dated , standing at over 2. Korean displays include green-glazed ceramics, silk embroideries from officials' robes and gleaming boxes inlaid with mother-of-pearl made between AD and Tibetan art from the 14th to the 19th century is represented by notable 14th- and 15th-century religious images in wood and bronze, scroll paintings and ritual objects. Art from Thailand, Burma, Cambodia, Indonesia and Sri Lanka in gold, silver, bronze, stone, terracotta and ivory represents these rich and complex cultures, the displays span the 6th to 19th centuries. Refined Hindu and Buddhist sculptures reflect the influence of India; items on show include betel-nut cutters, ivory combs and bronze palanquin hooks. Image depicting Lord Parshvanatha , India, 7th Century. Image depicting Lord Rishabhanatha dated 9th century, India. Jain Goddess Ambika , Odisha, India, 12th century. Betel container, 19th century, Filigree work in gold on a gold ground, outlined with bands of rubies and imitation emeralds, Mandalay, Burma. The museum houses the National Art Library , a public library [99] containing over , books, photographs, drawings, paintings, and prints. It is one of the world's largest libraries dedicated to the study of fine and decorative arts. The library covers all areas and periods of the museum's collections with special collections covering illuminated manuscripts , rare books and artists' letters and archives. The Library consists of three large public rooms, with around a hundred individual study desks. The centre room contains 'special collection material'. One of the great treasures in the library is the Codex Forster, some of Leonardo da Vinci 's note books. Their contents include a large collection of sketches and references to the equestrian sculpture commissioned by the Duke of Milan Ludovico Sforza to commemorate his father Francesco Sforza. These were bequeathed with over 18, books to the museum in by John Forster. Writers whose papers are in the library are as diverse as Charles Dickens and Beatrix Potter. The National Art Library also called Word and Image Department at the Victoria and Albert Museum collection catalogue used to be kept in different formats including printed exhibit catalogues, and card catalogues. A computer system called MODES cataloguing system was used from the s to the s, but those electronic files were not available to the library users. The Victoria and Albert Museum has a computer system but most of the items in the collection, unless those were newly accessioned into the collection, probably do not show up in the computer system. There is a feature on the Victoria and Albert Museum web-site called "Search the Collections," but not everything is listed there. The National Art Library also includes a collection of comics and comic art. Notable parts of the collection include the Krazy Kat Arkive, comprising 4, comics, and the Rakoff Collection, comprising 17, items collected by writer and editor Ian Rakoff. The Victoria and Albert Museum's Word and Image Department was under the same pressure being felt in archives around the world, to digitise their collection. A large scale digitisation project began in in that department. That project was entitled the Factory Project to reference Andy Warhol and to create a factory to completely digitise the collection. The first step of the Factory Project was to take photographs using digital cameras. The Word and Image Department had a collection of old photos but they were in black and white and in variant conditions, so new photos were shot. Those new photographs will be accessible to researchers to the Victoria and Albert Museum web-site. The second step of the Factory Project is to catalogue everything. The third step of the Factory Project is to audit the collection. All of those items which were photographed and catalogued, must be audited to make sure everything listed as being in the collection was physically found during the creation of the Factory Project. The fourth goal of the Factory Project is conservation, which means performing some basic preventable procedures to those items in the department. Book : V&A Pattern Box Set with CD-ROMs -

The inside of the dust jacket is printed full colour with a graphical representation of the animals' environment. Top results View all results. Shop by category. Victoria and Albert Museum Search. Previous Next. Sold out Sorry, this item is out of stock. Format Box-set 4 hardbacks. From the s to the s the scientific collections had been moved from the main museum site to various improvised galleries to the west of Exhibition Road. Queen Victoria returned to lay of the foundation stone of the Aston Webb building to the left of the main entrance on 17 May Queen Victoria's address during the ceremony, as recorded in The London Gazette , ended: "I trust that it will remain for ages a Monument of discerning Liberality and a Source of Refinement and Progress. In , on the outbreak of the Second World War, most of the collection was sent to a quarry in Wiltshire , to Montacute House in Somerset, or to a tunnel near Aldwych tube station , with larger items remaining in situ , sand-bagged and bricked in. Before the return of the collections after the war, the Britain Can Make It exhibition was held between September and November , [28] attracting nearly a million-and-a-half visitors. By most of the collections had been returned to the museum. This innovative approach to bringing young people to museums was a hallmark of the directorship of Roy Strong and was subsequently emulated by some other British museums. Strong's successor Elizabeth Esteve-Coll oversaw a turbulent period for the institution in which the museum's curatorial departments were re- structured, leading to public criticism from some staff. This is to ensure that the exhibits are better displayed, more information is available, access for visitors is improved, and the museum can meet modern expectations for museum facilities. The Exhibition Road Quarter project provided 6, square metres of extra space, which is the largest expansion at the museum in over years. In March , it was announced that the Duchess of Cambridge would become the first royal patron of the museum. Victorian parts of the building have a complex history, with piecemeal additions by different architects. Founded in May , it was not until that the museum moved to its present site. This area of London, previously known as Brompton , had been renamed 'South Kensington'. The first building to be erected that still forms part of the museum was the Sheepshanks Gallery in on the eastern side of the garden. The North [43] and South Courts [44] were then built, both of which opened by June They now form the galleries for temporary exhibitions and are directly behind the Sheepshanks Gallery. On the very northern edge of the site is situated the Secretariat Wing; [45] also built in , this houses the offices and boardroom, etc. An ambitious scheme of decoration was developed for these new areas: a series of mosaic figures depicting famous European artists of the Medieval and Renaissance period. None of this decoration survives. Part of these galleries became the new galleries covering the 19th century, opened in December The last work by Fowke was the design for the range of buildings on the north and west sides of the garden. The ceramic staircase in the northwest corner of this range of buildings was designed by F. Moody [49] and has architectural details of moulded and coloured pottery. All the work on the north range was designed and built in — The style adopted for this part of the museum was Italian Renaissance ; much use was made of terracotta , brick and mosaic. This is flanked by terracotta statue groups by Percival Ball. The interiors of the three refreshment rooms were assigned to different designers. The lower part of the walls are panelled in wood with a band of paintings depicting fruit and the occasional figure, with moulded plaster foliage on the main part of the wall and a plaster frieze around the decorated ceiling and stained-glass windows by Edward Burne-Jones. The Grill Room — 81 was designed by Sir Edward Poynter ; [56] the lower part of its walls consist of blue and white tiles with various figures and foliage enclosed by wood panelling, while above there are large tiled scenes with figures depicting the four seasons and the twelve months, painted by ladies from the Art School then based in the museum. The windows are also stained glass; there is an elaborate cast-iron grill still in place. He designed to the north west of the garden the five-storey School for Naval Architects also known as the science schools , [58] now the Henry Cole Wing, in — Scott's assistant J. Wild designed the impressive staircase [59] that rises the full height of the building. Made from Cadeby stone, the steps are 7 feet 2. Continuing the style of the earlier buildings, various designers were responsible for the decoration. The terracotta embellishments were again the work of Godfrey Sykes, although sgraffito was used to decorate the east side of the building designed by F. The final part of the museum designed by Scott was the Art Library and what is now the sculpture gallery on the south side of the garden, built in — In the government launched a competition to design new buildings for the museum, with architect Alfred Waterhouse as one of the judges; [67] this would give the museum a new imposing front entrance. Construction took place between and The main entrance, consisting of a series of shallow arches supported by slender columns and niches with twin doors separated by pier, is Romanesque in form but Classical in detail. Likewise the tower above the main entrance has an open work crown surmounted by a statue of fame, [69] a feature of late Gothic architecture and a feature common in Scotland, but the detail is Classical. The main windows to the galleries are also mullioned and transomed, again a Gothic feature; the top row of windows are interspersed with statues of many of the British artists whose work is displayed in the museum. Prince Albert appears within the main arch above the twin entrances, and Queen Victoria above the frame around the arches and entrance, sculpted by Alfred Drury. The interior makes much use of marble in the entrance hall and flanking staircases, although the galleries as originally designed were white with restrained classical detail and mouldings, very much in contrast to the elaborate decoration of the Victorian galleries, although much of this decoration was removed in the early 20th century. The Museum survived the Second World War with only minor bomb damage. In the immediate post-war years there was little money available for other than essential repairs. The s and early s saw little in the way of building work; the first major work was the creation of new storage space for books in the Art Library in and This involved flooring over Aston Webb's main hall to form the book stacks, [71] with a new medieval gallery on the ground floor now the shop, opened in Then the lower ground-floor galleries in the south- west part of the museum were redesigned, opening in to form the new galleries covering Continental art — late Renaissance, Baroque through Rococo and neo-Classical. To link this to the rest of the museum, a new entrance building was constructed on the site of the former boiler house, the intended site of the Spiral , between and A few galleries were redesigned in the s including the Indian, Japanese, Chinese, ironwork, the main glass galleries, and the main silverware gallery, which was further enhanced in when some of the Victorian decoration was recreated. This included two of the ten columns having their ceramic decoration replaced and the elaborate painted designs restored on the ceiling. As part of the renovation the mosaic floors in the sculpture gallery were restored—most of the Victorian floors were covered in linoleum after the Second World War. After the success of the British Galleries, opened in , it was decided to embark on a major redesign of all the galleries in the museum; this is known as "FuturePlan", and was created in consultation with the exhibition designers and masterplanners Metaphor. The plan is expected to take about ten years and was started in Several designers and architects have been involved in this work. The design is a subtle blend of the traditional and modern: the layout is formal; there is an elliptical water feature lined in stone with steps around the edge which may be drained to use the area for receptions, gatherings or exhibition purposes. This is in front of the bronze doors leading to the refreshment rooms. A central path flanked by lawns leads to the sculpture gallery. The southern, eastern and western edges of the lawns have glass planters which contain orange and lemon trees in summer, which are replaced by bay trees in winter. The garden is also used for temporary exhibits of sculpture; for example, a sculpture by Jeff Koons was shown in The Exhibition Road Quarter opened in , with a new entrance providing access for visitors from Exhibition Road. A new courtyard, the Sackler Courtyard, has been created behind the Aston Webb Screen, a colonnade built in to hide the museum's boilers. The colonnade was kept but the wall in the lower part was removed in the construction to allow public access to the courtyard. A pavilion of Modernist design with angular roof and glass walls is located at the corner; it contains a cafe it is also covered with 4, tiles on its roof. The Sainsbury Gallery's column-less space at 1, square metres is one of the largest in the country, providing space for temporary exhibitions. The gallery can be assessed through the existing Western Range building where a new entrance to the Blavatnik Hall and the Museum has been created, and visitors can descend into gallery via stairs with lacquered tulipwood balustrades. The collecting areas of the museum are not easy to summarize, having evolved partly through attempts to avoid too much overlap with other national museums in London. The collection departments are further divided into sixteen display areas, whose combined collection numbers over 6. The following lists each of the collections on display and the number of objects within the collection. The museum has galleries, but given the vast extent of the collections only a small percentage is ever on display. Many acquisitions have been made possible only with the assistance of the National Art Collections Fund. With over , drawings, over , papers and paraphernalia, and over , photographs from around the world, together they form the world's most comprehensive architectural resource. Not only are all the major British architects of the last four hundred years represented, but many European especially Italian and American architects' drawings are held in the collection. As well as period rooms, the collection includes parts of buildings, for example the two top stories of the facade of Sir Paul Pindar 's house [93] [94] dated c. European examples include a dormer window dated — from the chateau of Montal. There are several examples from Italian Renaissance buildings including, portals, fireplaces, balconies and a stone buffet that used to have a built in fountain. The main architecture gallery has a series of pillars from various buildings and different periods, for example a column from the Alhambra. Examples covering Asia are in those galleries concerned with those countries, as well as models and photographs in the main architecture gallery. It has one of the world's most comprehensive and important collections of Chinese art whilst the collection of South Asian Art is the most important in the West. The Jameel Gallery of Islamic Art, opened in , houses a representative display of objects with the highlight being the Ardabil Carpet , the centrepiece of the gallery. A masterpiece of Islamic art is a 10th-century Rock crystal ewer. A 15th-century minbar from a Cairo mosque with ivory forming complex geometrical patterns inlaid in wood is one of the larger objects on display. Extensive examples of ceramics especially Iznik pottery, glasswork including 14th-century lamps from mosques and metalwork are on display. The collection of Middle Eastern and Persian rugs and carpets is amongst the finest in the world, many were part of the Salting Bequest of Examples of tile work from various buildings including a fireplace dated from Istanbul made of intricately decorated blue and white tiles and turquoise tiles from the exterior of buildings from Samarkand are also displayed. The Museum's collections of South and South-East Asian art are the most comprehensive and important in the West comprising nearly 60, objects, including about 10, textiles and paintings, [95] the range of the collection is immense. The Jawaharlal Nehru gallery of Indian art , opened in , contains art from about BC to the 19th century. There is an extensive collection of sculpture, mainly of a religious nature, Hindu , Buddhist and Jain. The gallery is richly endowed with art of the Mughal Empire and the Marathas , including fine portraits of the emperors and other paintings and drawings, jade wine cups and gold spoons inset with emeralds, diamonds and rubies, also from this period are parts of buildings such as a jaali and pillars. Examples of clothing are also displayed. Items in the collection include Tipu's Tiger , an 18th-century automaton created for Tipu Sultan , the ruler of the Kingdom of Mysore. The personal wine cup of Mughal Emperor Shah Jahan also on display. The T. Though the majority of art works on display date from the Ming and Qing dynasties, there are exquisite examples of objects dating from the Tang dynasty and earlier periods. Notably, a metre-high bronze head of the Buddha dated to c. Two large ancestor portraits of a husband and wife painted in watercolour on silk date from the 18th century. There is a unique Chinese lacquerware table , made in the imperial workshops during the reign of the Xuande Emperor in the Ming dynasty. One of the largest objects is a bed from the midth century. The work of contemporary Chinese designers is also displayed. The Toshiba gallery of Japanese art opened in December The majority of exhibits date from to , but one of the oldest pieces displayed is the 13th- century sculpture of Amida Nyorai. One of the finest objects displayed is Suzuki Chokichi's bronze incense burner koro dated , standing at over 2. Korean displays include green-glazed ceramics, silk embroideries from officials' robes and gleaming boxes inlaid with mother-of-pearl made between AD and Tibetan art from the 14th to the 19th century is represented by notable 14th- and 15th-century religious images in wood and bronze, scroll paintings and ritual objects. Art from Thailand, Burma, Cambodia, Indonesia and Sri Lanka in gold, silver, bronze, stone, terracotta and ivory represents these rich and complex cultures, the displays span the 6th to 19th centuries. Refined Hindu and Buddhist sculptures reflect the influence of India; items on show include betel-nut cutters, ivory combs and bronze palanquin hooks. Image depicting Lord Parshvanatha , India, 7th Century. Image depicting Lord Rishabhanatha dated 9th century, India. Jain Goddess Ambika , Odisha, India, 12th century. Betel container, 19th century, Filigree work in gold on a gold ground, outlined with bands of rubies and imitation emeralds, Mandalay, Burma. The museum houses the National Art Library , a public library [99] containing over , books, photographs, drawings, paintings, and prints. It is one of the world's largest libraries dedicated to the study of fine and decorative arts. The library covers all areas and periods of the museum's collections with special collections covering illuminated manuscripts , rare books and artists' letters and archives. The Library consists of three large public rooms, with around a hundred individual study desks. The centre room contains 'special collection material'. One of the great treasures in the library is the Codex Forster, some of Leonardo da Vinci 's note books. Their contents include a large collection of sketches and references to the equestrian sculpture commissioned by the Duke of Milan Ludovico Sforza to commemorate his father Francesco Sforza. These were bequeathed with over 18, books to the museum in by John Forster. Writers whose papers are in the library are as diverse as Charles Dickens and Beatrix Potter. The National Art Library also called Word and Image Department at the Victoria and Albert Museum collection catalogue used to be kept in different formats including printed exhibit catalogues, and card catalogues. A computer system called MODES cataloguing system was used from the s to the s, but those electronic files were not available to the library users. The Victoria and Albert Museum has a computer system but most of the items in the collection, unless those were newly accessioned into the collection, probably do not show up in the computer system. There is a feature on the Victoria and Albert Museum web-site called "Search the Collections," but not everything is listed there. The National Art Library also includes a collection of comics and comic art. Notable parts of the collection include the Krazy Kat Arkive, comprising 4, comics, and the Rakoff Collection, comprising 17, items collected by writer and editor Ian Rakoff. The Victoria and Albert Museum's Word and Image Department was under the same pressure being felt in archives around the world, to digitise their collection. A large scale digitisation project began in in that department. That project was entitled the Factory Project to reference Andy Warhol and to create a factory to completely digitise the collection. The first step of the Factory Project was to take photographs using digital cameras. The Word and Image Department had a collection of old photos but they were in black and white and in variant conditions, so new photos were shot. Those new photographs will be accessible to researchers to the Victoria and Albert Museum web-site. The second step of the Factory Project is to catalogue everything. The third step of the Factory Project is to audit the collection. All of those items which were photographed and catalogued, must be audited to make sure everything listed as being in the collection was physically found during the creation of the Factory Project. The fourth goal of the Factory Project is conservation, which means performing some basic preventable procedures to those items in the department. There is a "Search the Collections" feature on the Victoria and Albert web-site. The main impetus behind the large-scale digitisation project called the Factory Project was to list more items in the collections in those computer databases. These fifteen galleries—which opened in November —contain around 4, items. The period covered is to , with the galleries divided into three major subdivisions:. Not only the work of British artists and craftspeople is on display, but also work produced by European artists that was purchased or commissioned by British patrons, as well as imports from Asia, including porcelain, cloth and wallpaper. Patrons who have influenced taste are also represented by works of art from their collections, these include: Horace Walpole a major influence on the Gothic Revival , William Thomas Beckford and Thomas Hope. The galleries showcase a number of complete and partial reconstructions of period rooms, from demolished buildings, including:. The galleries also link design to wider trends in British culture. For instance, design in the Tudor period was influenced by the spread of printed books and the work of European artists and craftsmen employed in Britain. In the Stuart period, increasing trade, especially with Asia, enabled wider access to luxuries like carpets, lacquered furniture, silks and porcelain. In the Georgian age there was increasing emphasis on entertainment and leisure. For example, the increase in tea drinking led to the production of tea paraphernalia such as china and caddies. European styles seen on the Grand Tour also influenced taste. 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