anyone new to this area will find plenty of helpful information. A first look will intraduce the meth- ds and equipment and the most widely encountered situations for ceramics in buildings: kitchen counters, bathroom basins, architraves and fireplaces. The order of the chapters seems logi- cal ~ tools, construction tech- niques and installing, followed by the projects and finally @ gallery. A simplified overview of the whole process would have been welcame, to help explain some of the terms encountered along the way such as field tiles and foun- dation slabs. More diagrams could provide much of the infor mation in a more readily accessi ble way, particularly relating to surveying the proposed site and sectioning the wet clay construc- tion, both of which must be cru- cial to the success of the piece. Whatever your reaction to the style of the work in this book itis hard not to see the enormous potential in this area of ceramics. Beyond the physical there is obvi- ously the challenge of seeking cut willing patrons - architects, interior designers and private residences. | was left feeling that this publication provided an excellent introduction from a ‘maker who clearly brings much enthusiasm but could have bene- fited from a wider selection of work - imagine the addition of makers such as Margaret O'Rorke, Jacques Kauffman and Jola Spykowska, to mention just a few. Julia Pitts GARDENWARE MARTIN LUNGLY CROWOOD PRESS £20 | am a somewhat anarchic reader. Once attracted by a book | peruse fom back to front - probably because | am left-handed. Within ‘moments of flicking thus through Gardenvrare, two areas of current concern ~ haw to ensure frost- proof pots and how to counteract stoutness in reclaimed terracotta ~ were addressed and explained. The maverick in me encouraged, | persuaded myself to approach the book as the author intended and was richly rewarded Beautifully produced, the book is packed with excellent full colour photographs and inspira tional step-by-step techniques, The author cavers the selection and preparation of local clays, throwing, decorating, press moulding and mould-making, Martin Lungley knows his stuff and is generous about sharing it His diverse experiences - teach- ing, working for leading plant pot producers, setting up and running his own successful business ~ have helped develop a pleasing ability to communicate with lari ty and enthusiasm and I was par- ticularly impressed with his grasp of the business management side of running a pottery and endorse his straightforward, pragmatic approach. For the beginner he puts the development of terracotta ware into a well-researched historical perspective and offers many areas of exploration - even describing, with helpful diagrams, how to set up and run a work shop. He includes a chapter on clay bodies and glaze recipes and alist of useful addresses from ‘suppliers to outlets. For the ‘old hand’, the unaffected panache of his work stimulates the urge to ch oneself and experiment with some of his techniques, Martin Lungley’s work is fresh, yet grounded in tradition Although illustrating only his ‘own work, his Book is an excel lent guide for the inventive potter as well as the traditionalist ‘Atimely and worthy publication in the current climate of interest ‘in the garden’ ‘Susan Bennett ‘THE CUBE TEAPOT ANNE ANDERSON. RICHARD DENNIS €12 The CUBE teapot was @ utilitarian iter that has become a collectable, testimony tothe British obsession for improving the common teapot ~ an integrated and holistic design combining, in theory at least, the perfect infusion, a non- Grip spout and 2 compact and durable shape. The handle and spout are recessed in the overall cube shape making them less prone to breakage and chipping The stacking possibilities made the CUBE ideal for large catering ‘concerns like transatlantic liners, railways and hotels, The teapots were originally designed by Robert Crawford Johnson of Leicester and put into production in 1921. The CUBE 7 can even tons 8 Teapot Company Ltd. was only established some years later, with demand far outreaching supply. They thrived in the atmosphere that created the cor- rer teashop, an alternative to the public house favoured by the temperance movement. Some services favoured a clean line design, while some sported floral surface patterns quite out of keeping with the ‘modernity ofthe form. Cube tableware was still being used on the QE2, shrine to Art Deco design as recently as the 1980s. This fascinating slim volume gives an insight into the social history of the period illustrated by design drawing, advertising ‘and promotional materials from the 1920s. ‘Although tending to dribble the CUBE teapot stil carries an effective frisson of a golden age, ‘a brave new world where art and design were happily combined. Katy Bevan LEFT To RIGHT: Macro Crystalline Gtazes - Bulbous Bottle, Peter Frdtlich H34.sem [Architectural Ceramics for the Studio Potter - Building forms with free-form con- struction | Gardenware - Working on a large pot [The CUBE Teapot- Foley bone china CUBE teaset 1930, imitation shagreen effect, manutac~ tured by E.Brain & Co Ltd, Statfordshir