In 1916, at an unpropitious time, Thomas Wallis founded a new practice, Wallis, Gilbert & Partners, primarily to collaborate with an American company in the design of factories to be constructed of reinforced concrete. Up to this time, the designing of factories was not popular among architects and many manufacturers regarded the employment of an architect as a wanton extravagance. Wallis's move could in this light be seen as a reckless gamble, but the subsequent achievements of him and his partners suggest that his choice had been well considered. They became prolific designers of factories and some of the best known inter-war industrial buildings – Firestone, Hoover, The Gramophone Company, Glaxo Laboratories to name only a few – were their work. Skinner looks first at the biographical background of Wallis, at the history and organization of the partnership he founded, and at the many factors that contributed to its reputation in the inter-war years. She then offers a perspective on architectural thought and activity in that period, and of the attitudes and influences on factory design. Designs by the partnership for over one hundred factories and factory buildings have been discovered and, at the core of the book is a third chapter which analyses and assesses them under four headings: the early "daylight/masonry" style; the "fancy" factories of the mid-term years of 1927–35; the more sculptural and geometrical "British modern" later works up to 1939; and designs, including overseas commissions, that do not easily fit within the three style groups. Skinner concludes with an evaluation of the philosophy of Wallis, Gilbert & Partners, which was to contribute through the architectural design of factories to the successful pursuit of business by the companies that commissioned them. Although factories have played an influential role in society for more than two centuries, their design has rarely caught the imagination of architectural historians. Their neglect of the field is now being rectified to some extent and this book will contribute to the further stimulation of interest in the architectural history of factories.

A practical hands-on guide that follows the process of creating visually stunning yet usable Web forms, "Fancy Form Design" covers all design elements from planning the form's purpose and interface through to adding interactivity and visual effects.

This book explores the poetics of “fancy” in the works of Gerard Manley Hopkins, a term often paired with imagination in well-known Romantic poetics. It sheds new light on this concept, which is described positively in Hopkins’s poetics and later becomes the essence of his idiosyncratic concept of “inscape”, as shown here. Chapter One discusses the influence of Coleridge and Ruskin on Hopkins’s poetics of fancy, Hopkins’s experiments in the language of inspiration produced by fancy before his conversion to Catholicism, his idea of inscape as revealed by fancy, and the relation between his fancy and the aesthetics of Romantic poets such as Keats and Wordsworth. Chapter Two focuses on the concept of fancy in Hopkins’s predecessors, William Shakespeare and Alfred Lord Tennyson, who, along with Coleridge and Ruskin, had a major influence on the writer, leading him to pen the play “Floris in Italy” and the sonnet series “The Beginning of the End” in order to experiment with the language of inspiration which he argued only fancy could produce. This chapter also discusses Hopkins’s interest in J. E. Millais and the impact of the Pre-Raphaelites in the development of his poetics of fancy, Hopkins’s fancy as metalanguage, the contrast between his fancy and the impressionism of Walter Pater, and the role of fancy in Hopkins’s sonnets. Chapter Three treats Hopkins’s conversion to Catholicism and his views on Catholic art, including his interest in William Butterfield and the Gothic Revival, as well as the abrupt parallelism between Christ and fancy in “The Wreck of the Deutschland”. Hopkins’s poetic diction is a condensed evocation of art and nature with fancy as the source of his inspiration. His metaphors are not ordinary figures expressing the attributes of things, but are autonomous and have their nature within themselves. Hopkins’s poetic idiosyncrasy is generated by the parallelism between distinctive and autonomous images which repeat the surprise and ecstasy of the poet contemplating art and nature. He endeavoured to achieve the poetry of inspiration with his emphasis on fancy as the basis of his poetic diction so as to reinstate it as the source of a “new Realism”. Hopkins’s fancy foregrounds the discontinuous nature of a new poetic diction, which demonstrates unfettered combinations between autonomous images and signs in metalanguage in advance of semiotic literary theories.

This study places Djuna Barnes's early work in the context of symbolist ideas and practices. It presents Barnes not only as a woman writer, but also as an American writer, especially in her attention to the search for identity and to the conflict between individual values and those of society.