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The idea of the wall-veil is foremost in Ruskin's vison of architecture, yet remains - intentionally - mysterious. This concentrated study re-veals its latent, layered meanings, unpicking Ruskin's dress-codes in their various aspects of soul, body, the femininity of architecture, and so forth. Close intra-textual and inter-textual readings skilfully place these notions in the context, both of Ruskin's own multi-faceted volumes, and of other works of inspiration and commentary - notably the philosophy of clothes of Thomas Carlyle's Sartor Resartus Stephen Kite, Professor, Welsh School of Architecture, Cardiff University, Wales, UK What a terrific book! It is of such high quality, both text and stunning illustrations. It is a fascinating Ruskinian architectural journey through France and Italy. The book gives us new eyes to see old architecture that we are so familiar with, yet do not see! And I like the fact that in the last chapter, the author brings it up to date with Ruskin and modern architecture. Cynthia Gamble, Honorary Research Fellow, University of Exeter; Author of Proust as Interpreter of Ruskin: The Seven Lamps of Translation; and Former Chairman of the Ruskin Society.ã ã John Ruskin and the Fabric of Architectureã insightfully revisits the Ruskin's writings on architecture to demonstrate his vision of walls as surface. By engaging in a novel multidisciplinary approach at the intersection of surface, gender and dress studies, Anuradha Chatterjee revises long held assumptions about Ruskin's architectural theories and their impact on nineteenth and twentieth centuries. Her richly illustrated monograph will be of enduring interest for Ruskin scholars, architectural historians and Victorianists. Benedicte Coste, University of Burgundy, France

The idea of the wall-veil is foremost in Ruskin's vison of architecture, yet remains - intentionally - mysterious. This concentrated study re-veals its latent, layered meanings, unpicking Ruskin's dress-codes in their various aspects of soul, body, the femininity of architecture, and so forth. Close intra-textual and inter-textual readings skilfully place these notions in the context, both of Ruskin's own multi-faceted volumes, and of other works of inspiration and commentary - notably the philosophy of clothes of Thomas Carlyle's Sartor Resartus Stephen Kite, Professor, Welsh School of Architecture, Cardiff University, Wales, UK What a terrific book! It is of such high quality, both text and stunning illustrations. It is a fascinating Ruskinian architectural journey through France and Italy. The book gives us new eyes to see old architecture that we are so familiar with, yet do not see! And I like the fact that in the last chapter, the author brings it up to date with Ruskin and modern architecture. Cynthia Gamble, Honorary Research Fellow, University of Exeter; Author of Proust as Interpreter of Ruskin: The Seven Lamps of Translation; and Former Chairman of the Ruskin Society.ã ã John Ruskin and the Fabric of Architectureã insightfully revisits the Ruskin's writings on architecture to demonstrate his vision of walls as surface. By engaging in a novel multidisciplinary approach at the intersection of surface, gender and dress studies, Anuradha Chatterjee revises long held assumptions about Ruskin's architectural theories and their impact on nineteenth and twentieth centuries. Her richly illustrated monograph will be of enduring interest for Ruskin scholars, architectural historians and Victorianists. Benedicte Coste, University of Burgundy, France Writing about Ruskin is always over-shadowed by his demands for truth in art and his own manifest contradictions and prolixity. How then to understand the enduring value of his work without deadening it in explanation? Anuradha Chatterjee can guide us in this. Her subtle grasp of Ruskin's formal values comes as much from her own architectural intuition as from her ability to dive in and out of Ruskin's oeuvre and the sea of secondary literature. Chatterjee has a real feeling for the thickness that gender, semantics and the will to adorn give to the material facts of the building's skin. There are many truths to be had from Ruskin, and this book shows us one of these. John Macarthur,ã Professor and Director of the research centre for Architecture, Theory, Criticism and History, University of Queenslandã The textual delicacy of Anuradha Chatterjee's prose-traces is as sublime as the finest embroidered tissue. Applied to the material substance of architecture's built form and function, her entwined gauze of words constructs a beguiling ecriture feminine that articulates in triumphant whisper the dextrous joy of Ruskin's nature and craft. Professor Catherine Harper, Deputy Vice-Chancellor, University of Chichester, UK; Editor-in-Chief ofã Textile: Cloth & Culture (Routledge).

The idea of the wall-veil is foremost in Ruskin's vison of architecture, yet remains - intentionally - mysterious. This concentrated study re-veals its latent, layered meanings, unpicking Ruskin's dress-codes in their various aspects of soul, body, the femininity of architecture, and so forth. Close intra-textual and inter-textual readings skilfully place these notions in the context, both of Ruskin's own multi-faceted volumes, and of other works of inspiration and commentary - notably the philosophy of clothes of Thomas Carlyle's Sartor Resartus Stephen Kite, Professor, Welsh School of Architecture, Cardiff University, Wales, UK What a terrific book! It is of such high quality, both text and stunning illustrations. It is a fascinating Ruskinian architectural journey through France and Italy. The book gives us new eyes to see old architecture that we are so familiar with, yet do not see! And I like the fact that in the last chapter, the author brings it up to date with Ruskin and modern architecture. Cynthia Gamble, Honorary Research Fellow, University of Exeter; Author of Proust as Interpreter of Ruskin: The Seven Lamps of Translation; and Former Chairman of the Ruskin Society.ã ã John Ruskin and the Fabric of Architectureã insightfully revisits the Ruskin's writings on architecture to demonstrate his vision of walls as surface. By engaging in a novel multidisciplinary approach at the intersection of surface, gender and dress studies, Anuradha Chatterjee revises long held assumptions about Ruskin's architectural theories and their impact on nineteenth and twentieth centuries. Her richly illustrated monograph will be of enduring interest for Ruskin scholars, architectural historians and Victorianists. Benedicte Coste, University of Burgundy, France Writing about Ruskin is always over-shadowed by his demands for truth in art and his own manifest contradictions and prolixity. How then to understand the enduring value of his work without deadening it in explanation? Anuradha Chatterjee can guide us in this. Her subtle grasp of Ruskin's formal values comes as much from her own architectural intuition as from her ability to dive in and out of Ruskin's oeuvre and the sea of secondary literature. Chatterjee has a real feeling for the thickness that gender, semantics and the will to adorn give to the material facts of the building's skin. There are many truths to be had from Ruskin, and this book shows us one of these. John Macarthur,ã Professor and Director of the research centre for Architecture, Theory, Criticism and History, University of Queenslandã The textual delicacy of Anuradha Chatterjee's prose-traces is as sublime as the finest embroidered tissue. Applied to the material substance of architecture's built form and function, her entwined gauze of words constructs a beguiling ecriture feminine that articulates in triumphant whisper the dextrous joy of Ruskin's nature and craft. Professor Catherine Harper, Deputy Vice-Chancellor, University of Chichester, UK; Editor-in-Chief ofã Textile: Cloth & Culture (Routledge).

The idea of the wall-veil is foremost in Ruskin's vison of architecture, yet remains - intentionally - mysterious. This concentrated study re-veals its latent, layered meanings, unpicking Ruskin's dress-codes in their various aspects of soul, body, the femininity of architecture, and so forth. Close intra-textual and inter-textual readings skilfully place these notions in the context, both of Ruskin's own multi-faceted volumes, and of other works of inspiration and commentary - notably the philosophy of clothes of Thomas Carlyle's Sartor Resartus Stephen Kite, Professor, Welsh School of Architecture, Cardiff University, Wales, UK What a terrific book! It is of such high quality, both text and stunningã illustrations. It is a fascinating Ruskinian architectural journey through France and Italy. The book gives us new eyes to see old architecture that we are so familiar with, yet do not see! And I like the fact that in the last chapter brings it up to date with Ruskin and modern architecture. Cynthia Gamble, Honorary Research Fellow, University of Exeter, UK

Author Information

Anuradha Chatterjee (PhD) is Professor and Dean, Faculty of Design, Manipal University Jaipur. She is a registered architect in India, with M. Arch and PhD from the University of New South Wales, Australia. Prior to joining Manipal University Jaipur, Dr Chatterjee was the Dean Academics at Avani Institute of Design, where she was responsible for establishing culture and systems for academic excellence. Dr Chatterjee is the Regional Editor (Asia Pacific) at Taylor and Francis journal Textile: Journal of Cloth and Culture, and she is the Area Editor for Asia, Bloomsbury Global Encyclopedia of Women in Architecture 1960-2015 (edited by Karen Burns and Lori Brown, forthcoming in 2021).

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