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Edwina Fitzpatrick worked with Mark Lemanski of Penoyre and Prasad architects to develop an artificially sustained orchard within the underground Bishopsgate Goods Yard site. With their experience of relating the processes of growth and change, they recreated the feeling of being in the English countryside in spring and summer, regardless of the time of year. The orchard perpetually flowers within a micro-climate maintained using a hydrophonic system. The project was completed in 2000. Client: Panchayat/Slow Release. Award value £8,750.

Danny Lane worked in collaboration with Middlesbrough Borough Council Architects Department to devise a sculptural work which was incorporated into the central public space within this new complex in Cleveland. Lane created a functional screen and noise barrier which allows light to pass through, in keeping with the overall style, fabric, location and aspect of the building. The project was completed in 1994. Client: Teesside Training Enterprise Council. Award value £2,000.

This is a detail of the angelic guiard and the group of illustrious patrons that James Barry painted as part of the 'Elysium and Tartarus' painting in the Society's Great Room. Unusually there is no inscription under the print.

This is a detail of the angelic guiard and the group of illustrious patrons that James Barry painted as part of the 'Elysium and Tartarus' painting in the Society's Great Room. Unusually there is no inscription under the print.

This is a detail of the angelic guard and the group of illustrious patrons that James Barry painted as part of the 'Elysium and Tartarus' painting in the Society's Great Room. Unusually there is no inscription under the print. This version appears to be slightly smaller than others in the archive collection.

This is a detail of the angelic guiard and the group of illustrious patrons that James Barry painted as part of the 'Elysium and Tartarus' painting in the Society's Great Room. Unusually there is no inscription under the print.

A pilot report prepared for the RSA by Centrestruct Associates

This is a print of a painting by James Barry called 'The Birth of Pandora'. Only slight revisions were made in the print. No inscription was included.

The print of The Brith of Venus by James Barry is a later version than the one originally produced in 1776. Barry added 'PPRA 1791' to the later versions thereby dating this print to the latter version. (PPRA = Professor of Painting to the Royal Academy)

Detail from the 'Crowning of the Victors at Olympia' by James Barry in the Society's Great Room. This shows Diagoras, a former champion, being carried on the shoulders of his two victorious sons. The print is dated 1 May 1795 but the version with the inscription at the bottom was not produced until 1800.

Depiction of the fall of Satan with St Michael driving Satan out. James Barry dedicated the drawing to the Dean and Chapter of St Paul's who had approved the plan to decorate the church with history paintings. Although the print is dated 1777 it appears that it may be a later version c1790

Depiction of the fall of Satan with St Michael driving Satan out. James Barry dedicated the drawing to the Dean and Chapter of St Paul's who had approved the plan to decorate the church with history paintings. Although the print is dated 1777 it appears that it may be a later version c1790

Depiction of the fall of Satan with St Michael driving Satan out. James Barry dedicated the drawing to the Dean and Chapter of St Paul's who had approved the plan to decorate the church with history paintings. Although the print is dated 1777 it appears that it may be a later version c1790.

Designed by Maxwell Armfield, made by Tomkinsons Ltd