Appraiser, Sothebys and Bonhams auctioneers.
Find out more about Robin’s recent publications. Publications can include articles in academic journals and extracts within collaborative research texts.
‘Memory, modernity and history: the landscapes of Geoffrey Bawa in Sri Lanka, 1948-1998’. 2011. Contemporary South Asia, vol. 19, issue 1, pp. 9-24, ISSN 0958-4935, DOI: 10.1080/09584935.2010.544717.
‘Thinking’ the domestic interior in post-colonial South Asia: the home of Geoffrey Bawa in Sri Lanka, 1959-1998’. 2012. Interiors: design, architecture, culture, vol. 3, no. 3, pp. 203-26. ISSN 2041-9112, DOI: 10.2752/204191212X13470263746915.
‘Furnished in English style: Anglicization of local elite domestic interiors in Ceylon (Sri Lanka), c 1850-1910’, in Mark Taylor (ed.). 2013. Interior Design and Architecture: Critical and primary Sources, London: Berg. ISBN-13: 978-1847889294.
‘Spatial experience within the colonial bungalow and the tropical modern house in South Asia, 1880-1980’ Forthcoming 2017 in Penny Sparke, Mark Taylor et al (eds.), FLOW: between interior and landscape, London: Bloomsbury.
Robin has taken part in a range of research projects throughout his academic career, working in areas that include material culture, global design history and the history and theory of photography. Follow the link below to find out more.
Material culture, global design history, the history and theory of photography, colonial history, visual representation and the colonial legacy, the history of colonialism in South Asia, the negotiation of modernity and history in South Asia, with reference to Sri Lanka, post-war architecture and design in South Asia.
His current research addresses a number of aspects of South Asian history including: the relationship between representations of modernity in Sri Lanka and the issue of nation-building...
His current research addresses a number of aspects of South Asian history including: the relationship between representations of modernity in Sri Lanka and the issue of nation-building and national and cultural identity after independence; how a nascent Sri Lankan national identity was ‘projected’ through the display of objects and spaces at international expos in the post-war period; present day visual consumption of the cultural heritage of Sri Lanka, that is informed by ‘techniques of picturing’ originating in colonial era.